Doctoral Thesis

Exhibition of Dong Ho paintings in a virtual reality

environment at a Fine Art Museum, Vietnam

Výstava obrazů Dong Ho v prostředí virtuální reality v Muzeu

výtvarného umění ve Vietnamu

Author: Ngoc Quynh Giao, Pham

Degree programme: Visual Arts (P8206)

Degree course: Multimedia and Design (8206V102)

Supervisor: Prof. MgA. Petr Stanický

Zlín, April, 2022.

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© Ngoc Quynh Giao Pham

Tomas Bata University in Zlín in the Edition Doctoral Thesis.

2022

Key words: Fine Art museum (FAM), museum exhibition, preservation, Dong Ho folk painting
(DHFP), virtual reality (VR), VR environment (VRE), immersed

Klíčová slova: muzeum výtvarného umění, muzejní výstava, konzervace, lidová malba Dong

Ho, virtuální realita (VR), prostředí VR, ponořeno

The full version of the Doctoral Thesis is available in the Library of TBU in Zlín.

The electronic version of the Doctoral thesis may be found at www.utb.cz

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DEDICATION
This dissertation is dedicated to the childhood memory of Luu Huynh, my grandfather. He is
my biggest motivation to pursue my doctoral degree, and he was unable to see my graduation.
This is for him.
This project is dedicated to our parents, who had never failed forgiving all our needs when we
developed our system and teaching us that even the most considerable task can be
accomplished if done one step at a time. I also dedicate this work to Kim, my love, who has
encouraged me and whose encouragement has made sure that I give it all it takes to finish what
I have started.

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ACKNOWLEDGEMENT

I sent this thesis to my grandfather, who had always wanted to congratulate me on my doctorate
graduation but passed away suddenly two months before I finished this thesis. I want to give
special thanks to my family, including my parents and my young sister, who have always
believed in and supported all of my decisions along the way. Never pushed or pressured me
when I wanted to do something that was not according to society's standards (although I used
to have many headaches because of my stubborn youth).

I am therefore extremely grateful to my supervisor, prof. MgA. Petr Stanický whose guidance
and care has seen the realization of this thesis. I acknowledge the following incredible
individuals: prof. akad. mal. Ondrej Slivka ArtD.; doc. MA Vladimír Kovařík, Mgr. Josef
Kocourek, Ph.D. – Dean of Faculty of Multimedia Communications; doc. Mgr. Irena
Armutidisová – immediate past Dean of FMK; doc. PhDr. Zdeno Kolesár PhD.; Mr. Pavel
Krutil - Vice-Dean for Internationalization; Mgr. Lukáš Gregor, Ph.D. – Vice-Dean for
Creative Activities; Mrs. Eva Prokopová - Exchange Programmes Coordinator, for their
immeasurable assistance since I joined the Faculty of Multimedia Communications.

I give special thanks to the destined love of my life, Kim Hedeline. He appeared and changed
me for the better. Even though it was stormy and heavy rain still took the initiative to run to
me with an umbrella. I could not have survived in Europe for two years with the raging
epidemic without him by my side. Thank you for always opening your arms to love me with
your sympathy, kindness, consideration, and wisdom. In a few decades, I hope that we can sit
down and tell our children and grandchildren how difficult, tiring but full of laughter this time
is.

I want to thank Ms. Phuong Pham, Hieu Nguyen, Mr. Jacky Hoang, Bao Dang, and Ahn
Nguyen, who have always created the best working conditions and encouraged me mentally to
complete the thesis. It means a lot to me during this challenging journey.

To those who are having a hard time choosing their future. Studying for a Ph.D. is not an easy
journey. A friend of mine told me this was a lonely journey. It requires bravery, courage,
passion, and determination more than any road you have ever taken. I hope you stay as strong
and brave as possible. Because with just those two virtues, you can do things that you cannot
even think of yourself.

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ABSTRACT
In the history of human culture development, the museum was born as a kind of cultural
institution understood as a symbol of community culture. A museum is a place where anyone
who wants to learn about the culture and history of a country needs to have at least one visit.
In many works related to architecture, the museum is the only place to store documents and
display artifacts related to the historical process, reflecting the culture of a city, a nation, or a
country.
For cities with hundreds of years of history, a historic center is often a place where old and new
cultural values are symbiotic. These prices continue and change during a continuous process.
The city has also faced the abandonment of past achievements in the modernization context.
Therefore, the relationship between conservation and development is often a controversial
issue in the process of renovating art museums. At present, most developed countries admit the
harmony between these two elements is an essential need in the strategy to preserve cultural
and artistic traditions.
On the contrary, it is still a painful problem that has not yet ended in Asia. An undeniable fact
is that the city-county has not appropriately preserved museums in Vietnam and especially Ho
Chi Minh City. This fact has led to the young generation in the city are not interested in visiting
the museum. One of the main reasons is that the face with the contemporary exhibition ways
has many mistakes and wrong knowledge of installation.
In many works related to architecture, the museum is the only place to store documents and
display artifacts related to the historical process, reflecting the culture of a city, a nation, or a
country. However, the strength of the technological age and the consequences of the war
occurred as the storm destroyed the cultural identity layers. The city has also faced the
abandonment of past achievements in the modernization context. Therefore, the relationship
between conservation and development is a controversial issue in the process of reservation
art-folk painting and art museums. It is still a painful problem that has not yet ended in Vietnam.
An undeniable fact is that the city-county has not appropriately preserved museums and art
folk paintings in Vietnam. This fact has led to the young generation in the city are not interested
in visiting the museum.
Among the folk paintings in Vietnam, Dong Ho paintings belong to the line of paintings printed
on wood carving planks, created, produced by the villagers of Dong ho village, and developed
into craft villages. This line of painting attaches and vividly shows the traditional Vietnamese
agricultural society, the working life of a traditional farmer, and the daily life of the Vietnamese
people. Currently, Dong Ho folk paintings are in danger of dying out due to the impact of the
market economy, changes in people's aesthetic needs, and difficulties in producing paintings.
Besides, according to several painters, Dong Ho paintings are no longer as innocent, simple,
"pure Vietnamese" as before but are gradually being commercialized, with no rich colors like
ancient paintings. Today, Dong Ho's painting profession exists weakly; only a few families
maintain it. According to recent statistics, the number of artisans is only three people, and the
number of practitioners is about twenty. The number of artists who are still capable of teaching

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is only two people (Mr. Nguyen Huu Sam and Mr. Nguyen Dang Che) who are all elderly
(Dung, 2013).
Virtual reality technology has become a new trend in human visual communication and visual
arts in today's modern context. Virtual reality technology allows people to break down
geographic barriers and planes, open up another dimension of 3D models, and even help people
immerse themselves in various virtual reality environments. In fact, in terms of physical and
geographical conditions, it is difficult for humans to experience.
In the face of the disappearance of a line of Vietnamese folk paintings with long-standing
cultural value, as a Vietnamese, I feel a part of my responsibility to research and find solutions
to preserve keeping the Dong Ho folk paintings. Through this research on virtual reality
technology, I have formed the idea of bringing Dong Ho folk paintings in the form of 2D hand-
drawn paintings into the virtual reality environment. This project will be a process of concept
formation, 3D modeling, and virtual reality environment construction of the museum and Dong
Ho folk painting village. Finally, a short virtual reality video will help users experience inside
the space of a Dong Ho painting village that has entered a restored legend. The next step is to
conduct experiments and compare the correlation between people exposed to Dong Ho painting
in 2D in traditional 2D format and experience the VR video.
This thesis aims to find a solution that is suitable for the modern trend of preserving the world's
art and applying it to the preservation of Vietnamese folk paintings. In addition, the thesis also
wants to perform the experiences in two traditional folk painting environments and folk
painting in the form of VR environments and collect data comparing the effectiveness of these
two experiences. Finally, this thesis aims to create new inspiration for the popularization and
enjoyment of Vietnamese folk painting by the country's young generation.

Key words: Fine Art museum (FAM), museum exhibition, preservation, Dong Ho folk painting
(DHFP), virtual reality (VR), VR environment (VRE), immersed

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ABSTRAKTNÍ

V dějinách vývoje lidské kultury se muzeum zrodilo jako druh kulturní instituce chápané jako
symbol kultury komunity. Muzeum je místo, kde každý, kdo se chce dozvědět o kultuře a
historii země, musí mít alespoň jednu návštěvu. V mnoha dílech souvisejících s architekturou
je muzeum jediným místem pro ukládání dokumentů a vystavení artefaktů souvisejících s
historickým procesem, odrážejícím kulturu města, národa, země.
Pro města se stovkami let historie je historické centrum často místem, kde jsou staré a nové
kulturní hodnoty symbiotické. Tyto ceny pokračují a mění se během nepřetržitého procesu.
Město také čelilo opuštění minulých úspěchů v kontextu modernizace. Vztah mezi konzervací
a rozvojem je proto často kontroverzním problémem v procesu renovace muzeí umění. V
současnosti většina vyspělých zemí připouští, že soulad mezi těmito dvěma prvky je nezbytnou
nutností ve strategii zachování kulturních a uměleckých tradic. Naopak je to stále bolestivý
problém, který v Asii ještě neskončil. Nepopiratelným faktem je, že městský okres nemá
náležitě zachovalá muzea ve Vietnamu a zejména v Ho Či Minově Městě. Tato skutečnost
vedla k tomu, že mladá generace ve městě o návštěvu muzea nemá zájem. Jedním z hlavních
důvodů je, že dnešní výstavní způsoby mají mnoho chyb a špatné znalosti instalace.
V mnoha dílech souvisejících s architekturou je muzeum jediným místem pro ukládání
dokumentů a vystavení artefaktů souvisejících s historickým procesem, odrážejícím kulturu
města, národa, země. Síla technologického věku a důsledky války se však projevily, když bouře
zničila vrstvy kulturní identity. Město také čelilo opuštění minulých úspěchů v kontextu
modernizace. Vztah mezi konzervací a vývojem je proto kontroverzní otázkou v procesu
rezervace umění lidové malby a muzeí umění. Je to stále bolestivý problém, který ve Vietnamu
ještě neskončil. Nepopiratelným faktem je, že městský okres ve Vietnamu náležitě nezachoval
muzea a umělecké lidové malby. Tato skutečnost vedla k tomu, že mladá generace ve městě o
návštěvu muzea nemá zájem.
Mezi lidovými malbami ve Vietnamu patří obrazy Dong Ho do řady obrazů tištěných na
dřevořezbářských prknech, které vytvořili, vyrobili vesničané z vesnice Dong Ho a vyvinuli se
v řemeslné vesnice. Jedná se o linii malby, která připojuje a živě ukazuje tradiční vietnamskou
zemědělskou společnost, pracovní život tradičního farmáře a každodenní život Vietnamců. V
současné době lidové malbě Dong Ho hrozí vymření v důsledku dopadu tržní ekonomiky, změn
v estetických potřebách lidí a potíží při produkci obrazů. Kromě toho, podle řady malířů,
obrazy Dong Ho už nejsou tak nevinné, jednoduché, „čisté vietnamské“ jako dříve, ale
postupně jsou komercializovány, bez sytých barev jako starověké obrazy. Dong Ho malířská
profese dnes existuje slabě, udržuje ji jen několik rodin. Podle posledních statistik jsou počet
řemeslníků pouze tři osoby, počet praktikujících asi dvacet, počet umělců, kteří jsou ještě
schopni vyučovat, jsou pouze dva lidé (pan Nguyen Huu Sam a pan Nguyen Dang Che). všichni
starší (Dung, 2013).
Technologie virtuální reality se v dnešním moderním kontextu stává novým trendem v lidské,
vizuální komunikaci a ve výtvarném umění. Technologie virtuální reality lidem umožňuje

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prolomit geografické bariéry a roviny, otevřít další dimenzi 3D modelů a dokonce pomoci
lidem ponořit se do různých prostředí virtuální reality. Ve skutečnosti, pokud jde o fyzické a
geografické podmínky, je pro člověka obtížné zažít.
Tváří v tvář mizení řady vietnamských lidových maleb s dlouhodobou kulturní hodnotou cítím
jako Vietnamec část své odpovědnosti za výzkum a hledání řešení, jak zachovat zachování
lidových maleb Dong Ho. Prostřednictvím mého výzkumu technologie virtuální reality jsem si
vytvořil myšlenku přinést obrazy Dong Ho ve formě 2D ručně kreslených obrazů do prostředí
virtuální reality. Tento projekt bude procesem tvorby konceptu, 3D modelování, budování
prostředí virtuální reality muzea a vesnice lidové malby Dong Ho. A nakonec krátké video
virtuální reality pomůže uživatelům zažít vnitřek prostoru malířské vesnice Dong Ho, která
vstoupila do obnovené legendy. Dalším krokem je provést experimenty a porovnat korelaci
mezi lidmi vystavenými malbě Dong Ho ve 2D v tradičním 2D formátu a zažít video ve VR.
Cílem této diplomové práce je najít řešení, které je vhodné pro moderní trend konzervace
světového umění a jeho aplikace na záchranu Vietnamu mé lidové malby. Kromě toho chce
práce také provést zkušenosti ve dvou prostředích tradiční lidové malby a lidové malby ve
formě prostředí VR a shromáždit data porovnávající efektivitu těchto dvou zkušeností. V
neposlední řadě si tato práce klade za cíl přispět k vytvoření nové inspirace pro popularizaci a
oblibu vietnamské lidové malby mladou generací země.

Klíčová slova: muzeum výtvarného umění, muzejní výstava, konzervace, lidová malba Dong
Ho, virtuální realita (VR), prostředí VR, ponořeno

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TABLE OF CONTENT

ABSTRACT ......................................................................................................................... 5

LIST OF ACRONYMS ....................................................................................................... 15

1. INTRODUCTION .......................................................................................................... 16

1.1 INTRODUCTION ..................................................................................................... 16

1.2 STATEMENT OF RESEARCH PROBLEM .................................................................... 17
1.3 RESEARCH GOALS (RG) AND RESEARCH QUESTIONS (RQ)...................................... 18
1.4 RESEARCH STAGES AND METHODOLOGY................................................................ 19
1.5 RESEARCH OBJECTIVES ........................................................................................ 21
1. 8 LIMITATION OF STUDY .............................................................................................. 22
1. 9 ORGANIZATION OF THESIS ........................................................................................ 23

2. MUSEUM LEARNING ................................................................................................. 24

2. 1 INTRODUCTION .......................................................................................................... 24
2. 2 ART MUSEUMS IN THE WORLD................................................................................... 24
2. 1. 2 A changing the role of information professionals in museums ........................... 27
2. 2 MUSEUM EXHIBITION ................................................................................................. 28
2. 2. 1 Museum exhibitions as a function of museums ................................................. 28
2. 2. 2 Museum exhibition as the communication of meaning ...................................... 28
2. 2. 3 Modes of exhibition apprehension .................................................................... 29
2. 3 FINE ART MUSEUM (FMA) IN VIETNAM - CASE STUDY FINE ART MUSEUM IN HO CHI
MINH CITY (FAMHCM) .................................................................................................. 30
2. 3. 1 Fine art museum in Vietnam ............................................................................. 30
2. 3. 2 The Fine Arts Museum Ho Chi Minh (FAMHCM) ........................................... 32
2. 4 THE CURRENT STAGE OF EXHIBITION IN FINE ART MUSEUM HO CHI MINH (FAMHCM)
........................................................................................................................................ 34
2. 4. 1 Reflected on painting exhibits in the FAMHCM ............................................... 34
2. 4. 2 Exhibitions and the dilemma in the FAMHCM ................................................. 35

3. BIOGRAPHY OF DONG HO FOLK PAINTING.......................................................... 38

THE DANGER OF LOSING A LINE OF DONG HO FOLK PAINTING IN VIETNAM .. 38

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 3. 1 BIOGRAPHY OF DONG HO FOLK PAINTING .................................................................. 38
3. 1. 1 History of Dong Ho painting village ................................................................. 38
3. 1. 2 Lines of folk paintings in Dong Ho Village ....................................................... 40
3. 1. 2. 1 Do The paintings ....................................................................................... 40
3. 1. 2. 2 Engraved paper paintings .......................................................................... 40
3. 1. 2. 3 Wooden folk paintings .............................................................................. 43
3. 2 HISTORY OF DONG HO FOLK PAINTING (DHFP) ......................................................... 44
3. 3 DONG HO FOLK PAINTING PROCESS ........................................................................... 45
3. 3. 1 Prototyping techniques...................................................................................... 45
3. 3. 2 Wood carving technique ................................................................................... 45
3. 3. 3 Do paper production techniques ........................................................................ 46
3. 3. 4 Diep scanning technique ................................................................................... 46
3. 3. 5 Dong Ho painting production techniques .......................................................... 47
3. 4 CLASSIFICATION OF DONG HO PAINTING THEMES ....................................................... 50
3. 5 DONG HO PAINTING. VIETNAMESE FOLKLORE VALUE ................................................. 52
3. 5. 1 Value socialiation of Dong Ho paintings ........................................................... 52
3. 5. 2 The artistic language of Dong Ho paintings ...................................................... 52
3. 6 THE DANGER OF LOSING A LINE OF DONG HO PAINTINGS IN VIETNAM ......................... 54

4. VIRTUAL REALITY ..................................................................................................... 56

APPLICATION OF VIRTUAL REALITY IN FINE ART EXHIBITION ......................... 56

4. 1 INTRODUCTION .......................................................................................................... 56
4. 2 WHAT IS VIRTUAL REALITY ....................................................................................... 57
4. 3 VIRTUAL REALITY SYSTEM ........................................................................................ 58
4. 3. 1 Hardware .......................................................................................................... 58
4. 3. 1. 1 Computer/graphic engines ......................................................................... 58
4. 3. 1. 2 Visual displays .......................................................................................... 59
4. 3. 1. 3 Haptic display .......................................................................................... 60
4. 3. 1. 4 Input devices and user tracking ................................................................. 61
4. 3. 2 Software ........................................................................................................... 61
4. 3. 2. 1 Laws odd nature simultation code ............................................................. 61
4. 3. 2. 2 Rendering libraries ................................................................................... 62
4. 3. 2. 3 VR libraries.............................................................................................. 62
4. 3. 2. 4 Ancillary software..................................................................................... 62

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 4. 3. 3 User interation .................................................................................................. 62
4. 4. EXPLAINATION OF THE EFFORT DEVELOPING OF VR ENVIRONMENT ............................ 64

5. DESIGN PROCESS ........................................................................................................ 67

5.1 VR VIDEOCLIP DESIGN PROCESS .................................................................................. 67

5.1.1 Research characters, history, context................................................................... 67
5.1.1.1. Recap the survey before design and select characters ...................................... 67
5.1.1.2. Research paintings .......................................................................................... 69
5.1.1.3. Research history custome, sketch characters ................................................... 71
5.1.1.4. Context of virtual reality environment............................................................. 73
5.1.1.5. Script of virtual reality(VR) story.................................................................... 74
5.1.1.6 Poster of the exhibition .................................................................................... 74
5.2. MODELS SYSTEM ....................................................................................................... 75
5.2.1. Museum sample modeling ................................................................................. 75
5.2.2 Dong Ho painting modelings .............................................................................. 77
5.3 QUANTITATIVE SURVEY RESULTS ................................................................................ 81
5.3.1 Measurement model verification ......................................................................... 81
5.3.2 Quantitative survey results .................................................................................. 81

6. DISCUSSION OF RESULTS/FINDINGS ...................................................................... 87

CONTRIBUTIONS OF THE DOCTORALS THESIS ........................................................ 87

6.1 DISCUSSION OF RESULTS/FINDINGS.............................................................................. 87

6.2 CONTRIBUTIONS OF THE DOCTORAL THESIS.................................................. 90
6.2.1 Theoretical implications...................................................................................... 91
6.2.2 Practical implications.......................................................................................... 91

7. CONCLUSION, LIMITATION, AND FUTURE RESEARCH ....................................... 93

7.1 CONCLUSION .............................................................................................................. 93

7.2 LIMITATION OF THE STUDY ......................................................................................... 95
7.3 FUTURE RESEARCH ..................................................................................................... 95

REFERENCES ................................................................................................................... 97

SCIENTIFIC PUBLICATION ACTIVITIES BY THE AUTHOR .................................... 100

APPENDICES .................................................................................................................. 102

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LIST OF FIGURE

Fig. 1 Summary of design method of this study. Author's own. ........................................... 19

Fig. 2 The diagram of the five design stages in this study. Author's own. ............................ 21
Fig. 3 Organization of thesis. Author's own. ........................................................................ 23
Fig. 4 Frontispiece depicting Ole Worm’s cabinet of curiosities from Museum Wormianum,
1655. Ole Worm was a Danish physician and natural historian. Engravings of his collection
were published in a volume after his death. ......................................................................... 25
Fig. 5 Gallery Prado Museum, Madrid ................................................................................ 26
Fig. 6 One exhibition in Fine Art Museum Vietnam, Hanoi capital..................................... 31
Fig. 7 Dong Ho folk painting exhibiton, Old and Modern, 2018 ......................................... 32
Fig. 8 Independence Vietnamese art projects, from left to right: TechNoPhobe at FCAC and
Future ASIA Bodies at Salon Saigon................................................................................... 37
Fig. 9 Dong Ho village communal house, a place of worship and closely associated with
painting production ............................................................................................................. 39
Fig. 10 The communal house yard is on a festival day, and the villagers offer offerings to a
festival ................................................................................................................................ 39
Fig. 11 Elephant and horse painting, Do The painting of Dong Ho village. .......................... 40
Fig. 12 Multi-layer paper carving process............................................................................ 41
Fig. 13 Set of paper cards "Long, Ly, Quy, Phuong". .......................................................... 42
Fig. 14 Describe the paper carving process for single paper carving (1 layer) ...................... 43
Fig. 15 Woodblock prints are used to print each color layer of Dong Ho folk paintings. ...... 44
Fig. 16 Paintings of Playing flute and carring buffalo, and Paintings of Group of fish, typical
Dong Ho paintings .............................................................................................................. 44
Fig. 17 Thi type of wood, Ink cage wood used to engrave printed boards and wood carving
tools .................................................................................................................................... 46
Fig. 18 Do papermaking process ......................................................................................... 46
Fig. 19 Papermaking process Do at Dong Cao village, Bac Ninh city .................................. 46
Fig. 20 A sample of white scallop shells and the production process of scallop powder ....... 47
Fig. 21 Process of mixing scallop powder with glutinous rice and applying it on the surface of
Do paper ............................................................................................................................. 47
Fig. 22 Steps to print each color of a finished painting ........................................................ 48

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Fig. 23 The technique of "blocking" colors creates different shades of light for the picture.. 48
Fig. 24 The printing technique uses many color boards to create a bicolor color .................. 48
Fig. 25 Dong Ho Folk Paintings Stage (PS)......................................................................... 49
Fig. 26 The method of creating paint colors from natural materials ..................................... 50
Fig. 27 Commonly used technical tools of VR system ......................................................... 57
Fig. 28 This diagram illustrates how the various components are integrated in a typical VR
system. Author's own. ......................................................................................................... 58
Fig. 29 The images displayed on the computer screen are the interactive visual images of the
user through the VR headset................................................................................................ 59
Fig. 30 Hand movement in VR environment ....................................................................... 61
Fig. 31 The user interacts with the VR environment like a driver in a car ............................ 63
Fig. 32 Workflow for the development of the VR video – A: PLAN (top), B: MODELLING
(center) and C: PROGRAMMING (bottom). Author's own. ................................................ 67
Fig. 33 The survey Vietnamese for the favorite painting which they want to see in a virtual
reality environment ............................................................................................................. 68
Fig. 34 Survey on the number of times Vietnamese people attend the Dong Ho folk painting
exhibition (Left chart) ......................................................................................................... 68
Fig. 35 The Mouse Wedding, Paintings satirical Line, Dong Ho Folk painting, Sample of
artisan Dang Khien Nguyen. Size 26x37cm......................................................................... 69
Fig. 36 Beautiful Woman, Decoration Line, Dong Ho Folk Painting, Sample of artisan Dang
Che Nguyen. Size 37x52cm. ............................................................................................... 70
Fig. 37 Mandarin costumes and short-legged delivery for commoner of Le Dynasty ........... 72
Fig. 38 Concept of customes Le Dynasty for commoner and courting year 1500 in in The
Mouse Wedding painting .................................................................................................... 72
Fig. 39 Concept of the old cat in The Mouse Wedding painting........................................... 73
Fig. 40 Exterior and in the courtyard of the communal house of Ho village ......................... 73
Figure. 41 Moodboard of the exhibition poster and the final poster of WIDHP exhibition ... 75
Fig. 42 Process of drawing the exhibition space (TES) ........................................................ 76
Fig. 43 Process of drawing Dong Ho village communal house (DHVCH) modelings .......... 77
Fig. 44 Views from top position of The Mouse Wedding (2 fig left) and Beautiful Woman (2
fig right) set in the courtyard of DHVCH ............................................................................ 77
Fig. 45 Process of drawing The Wedding Mouse painting modellings ................................. 78
Fig. 46 Process of drawing Beautiful woman painting modellings ....................................... 79
Fig. 47 Some views of Dong ho village communal house modellings with .......................... 79

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LIST OF TABLE

Table 1 Summaries the mode of visitor apprehension of exhibitions .................................... 30

Table 2 Recap programe, VR process, camera set up. Author's own. ................................... 81
Table 3 Demographic profile of research participants 1stS ................................................... 82
Table 4 Demographic profile of research participants 1stS ................................................... 83
Table 5 The participants knowledge about Vietnamese folk paintings 1stS........................... 84
Table 6 Recognize the familiarity of Vietnamese folk paintings 1stS ................................... 84
Table 7 Demographic profile of research participants 2ndS .................................................. 85
Table 8 The level of interest in the virtual reality exhibition space ...................................... 85
Table 9 Impressive level with the exhibition of Dong Ho folk paintings in VR 2ndS ............ 85
Table 10 Desire level to see more Dong Ho folk paintings in VR 2ndS ................................ 86
Table 11 Level of Interested in learning more about Vietnamese folk paintings after seeing
the WIDHP exhibition 2ndS ................................................................................................. 86
Table 12 Predict application of this VR exhibition in the future 2ndS ................................... 86

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LIST OF ACRONYMS

DHFP Dong Ho folk painting

FAM Fine Art Museum

FAMHCM Fine Art Museum Ho Chi Minh city

HCMC Ho Chi Minh City

RG Research goal

RQ Research question

VR Virtual reality

VRE Virtual reality environment

WIDHP Walk into Dong Ho painting exhibition

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1. INTRODUCTION
1.1 Introduction
Asia is the largest and most populous continent in the world. History has proved that Asia is
home to many famous civilizations such as Mesopotamia, Indo River, Ganges, Yellow River,
Mekong River, etc. Besides, Asia is also a source of diverse languages. Customs and life of
prehistoric people to the present. All created for the continent a rich source of cultural heritage.
Vietnam is also a country in the history of cultural development.
With a cultural history spanning more than three thousand years, Vietnam has more than 3,150
historical sites and 120 museums spread across the country. Cultural facilities and history are
a solid foundation for the museum system to ensure the content of exhibits, from artifacts to
historical documents. Typical of Ho Chi Minh City, one of the economic and cultural centers
of the country, it has many museums of fine arts and history. However, the museum is still not
a destination for visitors, students, tourists, and city people. One of the main reasons is that the
museum displays are inconsistent in design and lack media investment. Museums exist as a
visible must-have structure for the city, but there is no careful preservation, regularly
refreshing, or updating the display trends to create an engaging audience.
The purpose of the museum is to convey stories about the life, people, and culture of a people.
Awareness-raising considers cultural heritage to be the root of cultural identity. Preserving and
promoting heritage is the solution to building the culture of each nation and each nation.
Conservation is also a tool to participate in the trend of globalization, a competitive advantage
for other countries. Therefore, innovating both content and form as strengthening methods of
preserving heritage in art and historical museums is an urgent issue.
Museums are known to tend to display static exhibits. It is also understandable because the
outside target is to provide knowledgeable information, and this is a place to store and secure
historical arrays. Nonetheless, with the Virtual Reality museum in use, it is possible to change
this feature dynamically.
Malreaux (Malraux, 1978) was one of the first people to introduce the concept of a museum, a
different kind of environment without walls for viewing and performing art. Lately, the concept
of a virtual museum and technology was coined by Tsichritziz and Gibbs (D. Tsichritzis, S.
Gibbs, 1991). They named it "Virtual Museum," and it has emerged until now.
The purpose of museum exhibitions is to disseminate precise messages from the objects to their
visitors, which are noticeable through the form and display of exhibited objects within the
museum background. By using multimedia with virtual reality and providing multisensory
experiences, scientific and cultural information communicated by museum exhibitions can be
augmented (Grigore Burdea, Paul Richard, Philippe Coiffet, 1996) (Christopher D. Wickens,
Diane L. Sandry, Michael Vidulich, 1983).
With augmented reality features, museums in Ho Chi Minh City (HCMC) can bring art to life.
Scientific concepts, architectural details, and other elements that visitors are granted by
revealing from a different and extensive perspective. It does not only make it easy for visitors

16
to answer questions but also partially reflects the story behind an era style, an influence and
allows the user to have a sense of authenticity during the discovery process (HoaLT, 2019).
The thesis is formed by finding new methods to help preserve Dong Ho Vietnamese folk
paintings and doing experiments to compare the effectiveness of the interaction between
traditional folk painting exhibitions and exhibitions with contemporary virtual reality methods.
The project has focused on the purpose of a Virtual Environment (VE) that would enable
museum visitors to view and manipulate 3D exhibits. The author will renovate the classic Dong
Ho paintings, the most popular and famous in Vietnam culture, from 2D painting to 3D
modeling. In the next step, the project also redesigns the interior space of the Fine Arts Museum
(FAM) focus to serve the new 3D environment experiment. Furthermore, the necessity of
numerous experimental evaluations defines the best structure of VR devices. The configuration
quality would enable users to navigate within the VE parallel control exhibits in an effective
and perceptive manner (Santiago González Izard et al., 2019). The number of people
participating in museums required the diversity of their age, sex, occupation, and social level.
They will attend through the VE by using the Oculus glass and fill in multiple-choice questions
to explain their communication feelings in the end. For a larger purpose, the thesis has a plus
meaning to contribute to arousing the exploration of Vietnamese folk painting, popularizing
knowledge about the country's traditional history through works of art.
1.2 Statement of Research Problem
The relationship between the museum and the public has long been a noticeable transformation
over the past decades. In particular, the magnitude and importance of the museum are
increasingly interested and developed, but the media museum model lacks listening to the
public's voice (Weil, The Museum and the Public, 1997) (Weil, Making Museum Matter,
2002) (Hooper-Greenhill, Changing values in the Art Museum: rethinking communication and
learning, 2000) (C. Lang, et al., 2006) (Sandell, 2012). Amid many conflicting opinions, many
agree that the museum, as a cultural organization "serving the society and its development,"
should strive to provide human experience. As wide as possible, museums should also focus
on improving the relationship between the museum and the art-loving public.
Show status of museum exhibitions in Vietnam additon falls into a particular situation between
the hospitality market and the media display method. The buildings that have a history of more
than 100 years are used as museums in the city, typically shaped as the Museum of Fine Arts,
increasingly degraded in architecture, and at the same time lacking creativity in the way art is
exhibited. These issues persisted for many years, leading to extended periods of public interest
in the country's art. Museums generally have exhibitions and themes that change seasonally or
quarterly of the year to enhance interaction and attract the art-loving public. It is the problems
that still exist that the Fine Arts Museum is gradually falling into a certain distance, poor in the
method of the exhibition, the art of protection, and gradually losing its position in famous
museums in the city (Le, 2007).
According to the history of Dong Ho villagers recorded, Dong Ho painting was born in the
11th century in the Ly Dynasty at Mai village (Dong Ho, village nowadays). The village is
located on the southern bank of Duong River, now in Thuan Thanh district, Bac Ninh province,
about 35 km from Hanoi. (M. Nguyet, B. Van, 2019). During this period, Dong Ho was one of

17
the places that made famous wood carving traditional paintings alongside other lines of
traditional paintings, Hang Trong, Kim Hoang.
The peak period of the painting village was from the late nineteenth century to the 40s of the
twentieth century. At that time, there were 17 families in the village. They all made paintings.
Every year, around July or August, the whole village was busy preparing for the Tet season;
the village was full of colors. Traditionally, Dong Ho paintings are often an indispensable
element in Vietnamese families every Lunar New Year season. Dong Ho painting also has
other names such as Tet Painting or Xuan Tranh because their bright colors show an optimistic
spirit (M. Nguyet, B. Van, 2019). The paintings show pictures of Vietnamese village
landscapes, many other metaphorical images such as animals and babies that mean luck and
success to families in the New Year (Anh, 2019). Before 1945, Dong Ho village had more than
150 families making paintings. However, with the dominance of the wave of modern painting
and the changing lives of Vietnamese people, Dong Ho paintings gradually disappeared from
Vietnamese families on holidays and New Year. Most people who buy Dong Ho paintings
today are tourists or as gifts for foreigners who are still interested in traditional art (M. Nguyet,
B. Van, 2019). For that reason, the villagers of Dong Ho village also quit the profession of
painting to move to another job to earn additional income, such as making joss paper and gold
paper. At the same time, the tradition of printing old paintings by hand was also gradually
replaced by a series printer, losing the folk character of Dong Ho's paintings (Anh, 2019).
The disappearance and loss of Dong Ho Painting village are becoming an urgent issue. In
addition to maintaining and preserving this folk painting line, popularizing the line of paint to
the masses and young generations is also a problem. However, in Dong Ho village, very few
artisans still know how to make traditional paintings. Most of these artisans are old; if there is
no continuation, this painting line will disappear over time. Therefore, Vietnam is completing
a dossier on Dong Ho folk paintings to propose to UNESCO as an intangible cultural heritage
in need of urgent protection (M. Nguyet, B. Van, 2019).
1.3 Research goals (RG) and research questions (RQ)
Within the framework of the exhibition of Dong Ho paintings and a virtual reality environment,
the research had three main goals:
RG1 Study the historical value and artistic value of Dong Ho folk paintings
RG2 Research and determine measures to preserve Dong Ho folk paintings in the form of 2D
paintings in a virtual reality environment
RG3 Conduct experiments and compare the differences between traditional folk painting
exhibition environments and virtual reality environments.
RG4 Evaluate the experimental results and draw new methods to preserve traditional folk
paintings
RG5 Study on the difference between the visual effects and the attitudes of the viewers
between the traditional painting exhibition and the folk painting exhibition in the virtual reality
format
To reach the research goals, several research questions had to be addressed:
RQ1 What factors are causing difficulties in preserving Dong Ho folk painting in Vietnam?

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RQ2 What is the new method of exhibiting traditional folk art in Vietnam from now and
shortly?
RQ3 How to apply virtual reality exhibitions to traditional ways of collecting art in museums
in Vietnam?
RQ4 Does the exhibition by the traditional method attract viewers, especially young people?
How do they feel that the presentation of folk paintings in virtual reality is different from the
conventional exhibition-style?
1.4 Research stages and methodology

The author's method used in this study is practical design research combined with a quantitative
method to conclude. The practical research method is shown in the author's process of
participating in designing a short film that reconstructs two Dong Ho folk paintings from a 2D
version to a 3D version. The footage is presented as a virtual reality video clip that can be
experienced on a VR set or viewed as a standard video. The quantitative research method will
be applied through a survey of questions related to viewers' perceptions of the film. The survey
results will be possible to conclude how the research affects the research subjects. The author
used the survey to offer a form of exhibition and preservation of Vietnamese folk paintings.

Fig. 1 Summary of design method of this study. Author's own.

This thesis includes the following design stages:

• Stage 1 (S1): The first stage is to conceptualize the content that will make a virtual
reality product: Determine how to make a VR game or a VR application, for what field,
how the content will run and context and the objects the environment. Determine what
type of VR headset to use to deploy the game or application to. The programmer will
program the vr to match the selected glass device for the most feasible deployment.
• Stage 2 (S2): Research premises of Fine Art Museum and the exhibition space layout.
Draw a model of the exhibition space in 3D and put it into a VR environment without
exhibiting objects. Research on the characteristics, nature, and environment of Dong
Ho folk painting village in the nineteenth century. Draw a spatial model of Dong Ho
painting village using 3Dmax software and put it into a VR environment without
receiving objects in the painting. Research, classify and select Dong Ho folk paintings
suitable for reconstruction in 3D. After selecting the necessary pictures, research the
characters and elements in the pictures to make them characters using specialized

19
 software. Redraw character models, objects, and other elements according to the
characteristics of each type of painting.
• Stage 3 (S3): They combine characters and objects (S3) into the scene of the 3D village
of Dong Ho folk painting village (S2). Note that choosing the space and scene suitable
for each type of painting is still the landscape of the original painting version. At the
same time, to edit, inspect, remove, or add missing or redundant objects and details in
the whole scene of Dong Ho folk painting village.
• Stage 4 (S4): VR programming is the complete programming VR application into a
complete product. The designer carries out the entire scene of the painting village (with
all characters, objects, and environments added) into the scene of FAM's exhibition
space (S1). In the process of doing, the above must test the functions, context, actions
of the game, and products that meet the standards of the exhibition scenario. Add
character dubbing, sound, and music to match the video. After testing the video's final
version, we then move on to the installation and integration of the selected VR glasses.
• Stage 5 (S5): Show a video to a group of 15-65 years old to check the number of
interactions and complete a survey of viewer behavior and feelings. From there, draw
conclusions, discuss and compare traditional folk painting display methods and new
display methods through a virtual reality environment.

20
 Fig. 2 The diagram of the five design stages in this study. Author's own.

1.5 Research Objectives

The coldness of the public coming to museums has existed in Vietnam in general and Ho Chi
Minh City in particular. Parallel to that, folk paintings are increasingly fading and demand to
find conservation measures to suit the change of time. This study conducts extensive research
into the situation of the Fine Art Museum, the problems of current art exhibitions, and to find
solutions to overcome these problems.
The study similarly conducted extensive research on the history and characteristics of the Dong
Ho folk painting line. The thesis will classify and give the reasons for the disappearance of the
famous folk painting line for a while. In spite of everything, the main objective of the thesis is
to study the method of restoring and transforming the famous Dong Ho paintings from a 2D
version on drawing paper into a 3D version operating in a virtual reality environment. Post-
production will be conducted to create a virtual reality exhibition space for the first time in
Vietnam, with the main content being the characters in the Dong Ho series. Compare the

21
public's specialties and the results of shared experience between how traditional folk paintings
are exhibited and how information is exhibited in a virtual reality environment.
1. 7 Research contributions
This thesis provides a source of knowledge about Vietnamese folk painting and how to exhibit
traditional folk paintings in Vietnam. In addition, the thesis provides new information about
current art exhibition trends in the world. The results of this study are:
- Information about the origin, history of formation and development, special features, and
techniques of Dong Ho folk painting in Vietnam
- Discover the new exhibition method used for Dong Ho folk paintings.
- The video describes an exhibition of Dong Ho folk paintings in the form of a virtual reality
technology application.
- Data information compares the traditional painting exhibition method and the new exhibition
method applying virtual technology.
The thesis completes the contribution to the management of cultural heritage as well as the art
museum in Vietnam with the following items:
- Research on visual communication in the exhibition of Dong Ho folk paintings at the
museum.
- Research environment reality exhibition of the Fine Art Museum in Vietnam
- Study method of converting Dong Ho folk artworks from the standard drawing version to a
virtual environment.
This thesis is a significant contributor to cultural and artistic heritage preservation and
management as it collaborates with studies related to past heritage conservation issues. At the
same time, this study gives specialist bodies the ability to make decisions related to practical
topics and has a practical basis for comparison.
1. 8 Limitation of Study
When put on the scale to compare with other art museums, the art museums in Ho Chi Minh
City will have a lot of difficulties in promoting themselves to their public market. The familiar
term "going to a museum" is a daily activity in Europe and America, alien to young people and
unattractive to adults. In general, the fake city in particular and the Vietnamese people in
general are captivated by the American culture, Western popular culture (Hoang, 1993) and
recently Korea's entertainment culture.
In addition, the levels of governmental cut assistance in the cultural field also establish many
new formulas for the cultural domains in Vietnam. According to Lidstone and Doling (2000),
only out that from the year 1988 onwards, the government waived the decision that generous
state funding for cultural and arts organizations should be reduced and eliminated entirely. all
for the common good in some cases (G. Lidstone and T. Doling, 2000).
In the process of researching documents, the author encountered many difficulties in collecting
documents, books, newspapers, scientific journals related to museums, and folk paintings of
Vietnam. Profit of the conscience of the careers conforms with research results and advanced
calculation application. This status in the area of culture and art in Vietnam is still very
manageable and lacks proper attention.

22
Literature on folk paintings and valuable manuscripts is still very limited or has been removed
over time. Therefore, another limitation in this topic is the fact that the information is accurately
determined in the historical and scientifically proven sense of Dong Ho folk art.
The topic also did not receive any support from universities, government, or museum and art
organizations. The costs for the process of researching, testing, and applying virtualization
technology to the design and protection of Dong Ho folk are very high. Due to the above-
mentioned human resources, the results of the topic may not be able to achieve the goal of
reconstructing most of the paintings of Dong Ho and archived to this day, but only some sample
information can be used.
1. 9 Organization of Thesis
This study comprises seven chapters and a list of references. These figures and tables are
illustrated within the text. A list of figures and tables is placed at the beginning of the thesis.
The references are placed at the end of this thesis. A summary is made at the end of each
chapter to provide critical information.

Fig. 3 Organization of thesis. Author's own.

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2. MUSEUM LEARNING

2. 1 Introduction

Museums are known to tend to display static exhibits. This is correspondingly understandable
because the outside target is to provide knowledge information, and this is a place to store and
secure historical arrays. In 2004, Adler (Adler, 2007), a well-known museum researcher,
agreed with the International Museum Association as well as many scholars and museum
experts, along with the decision of the International Museum Council (ICOM ) considering
museums to be a non-profit and permanently social service organization(Ahmad, S. et. al,
3013). This shows that the museum definition is updated and developed in accordance with the
needs of society, associated with the reality of the global museum community. In 2007, at the
21st Congress in Vienna, Austria, ICOM took the role of the museum to a new level. The
museum also functions as an institution for acquisition, conservation, research,
communication, and exhibition for research, education, and enjoyment purposes. Museums
hold meaningful exhibitions as a means of presenting a project, as a reference to the
international community (Ahmad, S. et al., 2013) (Ahmad, S., Abbas, M. Y., Yusof, W. Z., &
Taib, M. Z. , 2013).
According to Tambi (2011), which is supported by Ramet-Gassert, Walberg (1994)
acknowledges that museums are an integral part of learning and significantly contribute to
providing broad education to the community. Through the above statement, besides the school,
the museum can be seen as a place to provide knowledge, stimulate viewers' curiosity,
observation, and creativity. Museums therefore present a unique context, an informal learning
environment that is often visited by many people (Chipangura, N., Marufu, H., 2019).
2. 2 Art Museums in the world
2. 2. 1 A brief of the history of Art Museums
When people think about museums, people frequently imagine art museums, spacious,
connected rooms with solemn high ceilings, where visitors stand in silence and enjoy the rows
of paintings and items neatly. There are many types of museums, such as the practical science
museum, history museum, the ethnographic museum, the art museum, and the storytelling of
the items on display varies widely in each museum.

24
 Fig. 4 Frontispiece depicting Ole Worm’s cabinet of curiosities from Museum
Wormianum, 1655. Ole Worm was a Danish physician and natural historian. Engravings of
his collection were published in a volume after his death.

According to Geoffrey D. Lewis, the Museum is an organization dedicated to preserving and

interpreting tangible evidence about humanity and its surroundings. Through the retention of a
lot of evidence in kind, the basic documents have made a clear difference with the library.
Since these raw materials and materials are used for learning and research through installations
exhibitions. In many situations, some artifacts lose information about when, and where they
were born, and will be communicated to viewers through other means. The museum was born
with many different purposes (Rodini, 2018). However, the museums have a common history
to tell. The museum is not just an organization of many things, precisely the museum is a place
to reflect the complexity of the cultures that have produced them, including politics, social
structures, and ideological systems of the museum itself.
2. 2. 1. 1 Etymology-From mouseion to museum
The word "museum" begins with the classic Greek goddess of inspiration, the nine Muses, a
designated, a philosophical institution, or a place of contemplation. Although in ancient
Alexandria, founded by Ptolemy I Soter early in the 3rd century BCE, "Museion" was more
like a university with a library rather than an artifact display (Rodini, 2018). While scholars
generally assume that museums are mainly located in 17th or 18th century Europe, historical
evidence suggests that there are exhibits and collections of objects in the squares public in
ancient Rome, medieval treasures, and traditional temples in Japan.
The Latin origin confined the museum to the Roman era as the main place for philosophical
discussion. The word museum is then used again in 15th century Europe, depicting the
collection of Lorenzo de 'Medici in Florence, Italy. However, the word museum now carries
the concept of holiness rather than a representation of a building (Lewis, 2021).
By the 17th century, the Ole Worm collection in Copenhagen was called a museum. Later in
England, the museum was also used to describe the collection of John Tradescant in Lambeth,
the catalog of which was published titled Musaeum Tradescantianum in 1656. The collection
was transferred to the University of Oxford in in 1965 after becoming the property of Elias
Ashmole. Later, a building was built to exhibit the collection and then opened to the public in
1683. It was now called the Ashmolean Museum. The legislation on the use of the museum

25
was drafted in 1753. After some ambivalence and debate, finally the idea of an organization
called the museum was established, considered as a place to preserve and display a collection
to the public in the 18th century.
During the 19th and most 20th centuries, the use of the word museum was to denote a building
containing cultural material accessible to the general public. In the long run, increasingly
museums keep changing on the basis of social change. There were more outdoor museums,
electronic museums, and as electronic technology appeared, we saw the advent of digital
museums. Although virtual museums offer an attractive new approach for visitors, and bring
some benefits to the museums. Nonetheless, virtual museums are still dependent on the
collection, preservation, and interpretation of material that exists from the actual museum's
prototype.
2. 2. 1. 2 Art museums
According to the media, the art museum will be a place to display collections of paintings,
sculptures, and decorative art. The target audience of the art museum (also known as the art
gallery) mainly communicates freely with the works. For that reason, aesthetic value is the
most concerned factor in accepting items for collection. Since the 19th century, a number of
art museums have included industrial art, aimed at encouraging good industrial design.
Exhibiting works of art comes with additional problems for the curator (Lewis, 2021). The
artworks exhibited convey a visual message and directly influence visitors. While in other
museums, the display is stereotyped and classic. For art museums, the curator of the work is
particularly interested in its performance. The ambience in which the work is to be placed is
unobstructed, which must be enhanced by highlighting the appearance and color of the work,
combined with the right lighting and background. Artificial light used to be a priority in
painting exhibitions both to create effects and to avoid harmful effects from natural light.
However, the downside of the clone light is to cause a fake feeling of excessive performance
that inhibits the viewers' appreciation and experience of the work. At the moment, museums
focus on the use of natural light that is used indirectly. Typically at the Tate Britain Museum,
London, UK, the exhibition space uses a mixture of natural daylight and simulated light (Lewis,
2021).

Fig. 5 Gallery Prado Museum, Madrid

Some museums display works on floors according to the custom of the past to display more
works. Certain churches are also open to the public, such as museums. The study of suitable

26
contexts for exhibits is also interested, leading to ancient houses, ancient furniture, and the
conservation of rural houses. Some places introduce performing arts, lighting elements, sound,
music, movies, or video displays to aid in improving the interpretation of the work to the
viewer. Another important factor is the preservation of art artifacts. A number of art materials
are very sensitive to the environment, so care should be taken in controlling the temperature,
humidity, and light they are exposed (Lewis, 2021).
In many cases of exhibiting great arts, the role of the museum becomes as a separate institution
to the art public in its development. This can be found as for example at the Pompidou Center
in Paris, the Stedelijk Museum in Amsterdam, and the modern art museums in Stockholm,
unique and special art forms are on display. Experimental display screen collections of mass
art often have a high purchase cost, thus playing an important role in the main activities of the
museum. Sculptures are often exhibited outdoors or other works of art such as sculptures in
Washington, D. C, Open Air Museum in Hakone, Japan (Lewis, 2021).
2. 1. 2 A changing the role of information professionals in museums

In Vietnam, the open-door policy of the state has led to economic changes, the expansion of
archives, the application of the science and technology ministry, and the improvement of
people's lives. The necessity for enjoying the culture and entertainment of the people is on the
rise. The popularity of television and the internet with increasingly appealing programs to
individual families addressing the parts people demanded, but not stopping them from leaving
their homes and looking to recently distant cultural, tourist, sports, entertainment facilities or
places. The culture of enjoying the level of the people is raised a lot, the quality of service and
entertainment culture must similarly be improved. This demand of the people is a favorable
condition for the museum to open its doors to welcome guests. On the other hand, it is a
enormous difficult taks to allocate our time for activities on the basis of where and what.
Previously, during the time when the whole country was liberated and the social regime was
under a subsidy period, museums did not have to think about many jobs "to feed themselves".
Granted a guarantee on the state of museum delays, which deactivates the museum's
functionality. Currently, museums are not outside the law on the market economy anymore.
The museum cannot take its servers lightly; then again must operate and try to entice the public
to visit the museum because it is the primary source of income for the museum. Thus, due to
the needs of customers (the need to enjoy the culture of the public) and the requirement of the
museum's owner (the need to raise revenues to nurture professional activities), the museum
must diversify its activities are of high quality (Huy, 2015).

As mentioned above, the public plays a vital role in the museum. It is indispensable to
understand the company's needs. With their advanced level of awareness and awareness, people
do not readily accept any "dishes" that the museum offers, but they have their own choices. To
attract the public to the museum, first of all, the museum must understand clearly to respond to
the requirements of the public; that is, the museum does not merely offer exhibitions or
activities. Subjectivity without regard to interests, needs, or opinions of the public. Therefore,
only when there are diverse, periodical, attractive, informative, and educational displays and

27
activities at the same time the information about such activities is disseminated to the public
then the museum really "reaches out" to its public (Huy, 2015).

2. 2 Museum exhibition
2. 2. 1 Museum exhibitions as a function of museums
Many scholars have agreed that the exhibition is the core function of the museum. The
museum's exhibitions open to the public are the main attraction and benefit of the museum
itself. Museum scholars also fully agree that museum exhibits are meant to bring about
transformative, expansive, and transformative experiences. Visitors will show their attention,
interest, and judgment on many aspects of their perceptions through the exhibition.
According to Dawson (Macdonald, 2006), the museum is a cultural institution that exhibits,
collects, records, and preserves objects, artifacts, or specimens such as property. The museum
performs activities such as display, research, and interpretation by imparting meaning through
exhibitions for educational purposes. Another statement from Maryland (Barry Lord, Gail
Dexter Lord, 2001) said that the museum's exhibition must help convey deep feelings into the
minds of visitors through artifacts and works. The interface demos are the key to developing a
visitor's vision. Museums generally offer two elements to visitors: collection (objects or
archives) and knowledge (events or stories). The two above factors create the meaning of the
work. Once either of these two factors are omitted, the variety of collections and knowledge in
the world will not develop underestimated.
Meanwhile, Hooper-Greenhill's definition of "meaning" was built in connection with the
museum's collections (Hooper-Greenhill, Changing values in the Art Museum: rethinking
communication and learning, 2000). Each collection usually includes many objects grouped to
create visual statements. This combination will form a visual story. For that reason, the ideas
on display are often cohesive to convey in the exhibition's texts, which may give a preferred
interpretation of the different displayed images (Hooper-Greenhill, Museums and Their
Visitors, 1994).
2. 2. 2 Museum exhibition as the communication of meaning
The museum's tool for communicating with righteousness is the exhibition itself. Currently,
along with the rapid development of science and technology, the preservation of natural and
cultural heritage and the popularization of multimedia communication have also developed.
Genres in the exhibition show objects, including visuals, audio-visuals, and interactive
experiences. Unlike styles of display for retail or commercial purposes, museum displays
feature a unique creative experience. Previous evidence that in earlier stages of the museum,
its introduction was more educational in the display method. Exhibitions are successful when
they adopt a method of educating visitors about the show's theme. These exhibits are always
helpful and educational and contribute to the museum's success (Ahmad, S., Abbas, M. Y.,
Yusof, W. Z., & Taib, M. Z. , 2013).
As museums are becoming progressively more popular, the application of new techniques,
modern audio-visual media, and the creation of many new experiences has been discussed in
the exhibition. Museum. Interactive experiences can spontaneously boost visitor interest and

28
awareness of exhibits. In each different theme of the museum exhibition, learning and
education through the exhibition will delight visitors depending on the flexible variation in the
exhibition's exhibitionism. Lord (2001) (Barry Lord, Gail Dexter Lord, 2001) stated that due
to several ways of conveying the meaning of the objects on display, creating a sense of curiosity
stimulates visitors to explore that object. Therefore, the purpose of the exhibition is to
effectively convert some aspects of the visitors' attitudes, preferences, and values and increase
confidence in the perceived authenticity of visitors to the object display.
According to Dawson (Macdonald, 2006), it redefines the museum's tendency to develop
unique exhibition ideas and is considered an essential means of communication. The exhibition
helps enhance the customer experience with various types of exhibitions matching a wide
variety of themes. In addition, communication also contributes to making exhibits more
engaging through combinations of exciting new types of architectural experiences and changes.
This change highlights the city's character through the image owner on the street to
communicate with the surrounding areas.
2. 2. 3 Modes of exhibition apprehension
Granting there is abundant to explore in museum exhibits, the exhibiting methods of visitors
(Lord, 2001) (Barry Lord, Gail Dexter Lord, 2001) are generally classified according to the
following four criteria:
• Contemplation: This is the museum-preferred method of cosmetic experience. In
addition, it is also used in museum history and science. This method is used to
display the art map to create or sample an item for the target type high and is used
differently with people around. According to the communication system method,
the works have information labels to give us outstanding information, such as the
doctor's name, work date, month, material, and sponsor, to ensure product impact.
It is out in the end. Now, the works are created with sound effects and LCD screens
with movie art, creating deep inspiration and enhancing viewers' reflection.
Nowadays, many museums and galleries apply this method of display. The viewer
may not operate the quality during the enjoyment task when the intellect and
emotions inside are very actively engaged.
• Comprehension: History and natural sciences museums often organize reverse
exhibits according to the context and theme. In it, the exhibits on display are linked
together for no viewing or research purposes. They can be placed in a room set or
grouped in a theme decorated scene in a display box (of glass or transparent
materials) or a space. Images can be layered, combining words and images to aid
in understanding the exhibit's meaning. In this approach, the properties of every
object should still be appreciated. This approach encourages the participant to find
the meaning of the specimens through an overall relationship between the context
objects and a topic. An activity in creating visitor relationships and object
comparison is enhanced. Transformative experiences will include exploring the
meaningful impact of specimens in their context of existence or referring to the
exhibition.

29
 • Discovery: Traditionally, this model was used extensively in natural history
museums with specimen collection systems, and now it has been modified and
applied in all other museum types. This model with intellect and visual interaction
is more active than another method in the museum exhibition. Visitors were able
to explore multiple specimens and experiment with individual examples or their
relationships. Nowadays, museums have classified each object in their archives,
but visitors can access them visually using a glass case or drawer. Providing
complete catalogs on the computer screen or multilayered cards next to the storage
compartments will further enhance the meaning and discovery of the specimens.
• Interaction: The method is favored by many science centers and children's
museums. Using the staff and the exhibit apparatus, the specimens are identified as
a valuable educational collection that helps visitors discover the meaning of the
specimen. In visitor surveys, the results show that the kind of exhibit with the
foremost vital interaction is when there is a knowledgeable guide, the show is
performed or wearing antiquity. The interaction between the guide and the visitor
delivers the museum's most straightforward experience. Where quality-trained
instructors or staff ask suggestions and have a way of engaging visitors through
presentations about their collection will increase the feeling of experience guests.

Modes of Visitor Apprehension of Exhibitions

Table 1 Summaries the mode of visitor apprehension of exhibitions

2. 3 Fine art museum (FMA) in Vietnam - Case study Fine Art Museum in
Ho Chi Minh city (FAMHCM)

2. 3. 1 Fine art museum in Vietnam

Fine art is an art form that reflects the real world with artistic images through various materials
in the unique way of each author. The general orientation of art is to bring beauty to people,
serving their practical needs. At the same time, fine art honors beauty with the top-notch
artworks of master folk and professional artists whose products have been selected and have a
significant influence on society. Fine art has become a part of cultural/artistic heritage – for
research, collection, preservation, display, and promotion in fine art museums. The

30
characteristic of fine art is to awaken aesthetic feelings deep in the human soul through visual
perception/intuition, what's more known as vivid visualization.

Fig. 6 One exhibition in Fine Art Museum Vietnam, Hanoi capital

Moreover, one must recognize the Museum of Fine Arts as a unique environment for the
masses' enjoyment and experience of attractiveness in the whole society. It must be organized
and arranged as a destination/"artistic rendezvous" of the art world. We are aware that the
museum's characteristics are reflected in the collections of original artifacts kept in the
preservation warehouse. Display themes organize the collections to serve the needs of scientific
research, education, and helpful dissemination of knowledge for people.
We see that the fine art museum has an extraordinary strength that other types of museums
cannot master: collections of original artifacts kept in storage and combinations in the
museum's galleries. An art museum is always the ultimate artwork of master artists (folk and
professional) in painting, sculpture, and graphics. Furthermore, therefore, we cannot and
should not define a "frozen framework" that binds the fields of operation of the Vietnam Fine
Arts Museum. Some national and international museum definitions can be cited here for a
deeper understanding of the concept of the fine art museum.
In the Law on Cultural Heritage, a museum is defined as "a cultural institution to collect,
preserve, research, display and introduce cultural heritage and material pieces of evidence
about nature, people and nature."
First, we distinguish two types of objects cited in museum definitions: artifacts and the public
(users, exploiters, and consumers of museum products). Those two objects will always be
artifacts, works of art, and visitors (domestic and international), especially artists who
compose, research, and critique fine arts for the Museum of Fine Arts.
Second, the Museum's activities are geared toward the research, collection, preservation,
display, presentation of physical shreds of evidence, and information about such physical
evidence to the public. Furthermore, accordingly, the Fine Arts Museum (FAM) must focus on
the material evidence related to the aspect of the visual arts (the original, accurately dated, with
the high aesthetic value of each period of aesthetic history). Art, with diverse art styles of each
specific author/artist, provides scientific information and basic knowledge of fine art to guide
the public to appreciate the beauty contained in works of art.
Third, museums are specific and non-profit cultural institutions. The main goal is to serve the
community's interests, even though museums still provide services appropriate to their nature
and function. The museum's features that visitors in need will acquire with money (and the

31
amount collected from these services is not tiny). We believe that the Vietnam FAM people
are still hesitant and lack creativity in researching compatible services to attract the public to
the Museum (Bài, 2017).
The professionalism of the Vietnam FAM is demonstrated through the museum's storage of
artifacts and the structure of the permanent display. After 50 years of non-stop operation, with
the efforts of many generations of leaders and staff of the museum, we have nearly 20,000
artifacts that reflect the historical development process (Bài, 2017). Vietnamese fine art with
many different forms and materials through typical works of typical artists in the national fine
arts. Moreover, those typical works of art are systematized into collections and preserved in
separate warehouses with suitable technical equipment. The author supposes there is a huge
step forward compared to what we had at the museum's opening in 1966. Some fairly complete
collections can be mentioned as follows: Collection of paintings (over 7000) works in-kind),
collects sculptures (over 1,000 artifacts), collects traditional fine arts (over 2,000 artifacts),
collects ceramics (over 6,000 artifacts).

Fig. 7 Dong Ho folk painting exhibiton, Old and Modern, 2018

Twenty years ago, the Vietnam FAM had the following display topics: Fine Arts of Ethnic
Minorities; Prehistoric and prehistoric art; Feudal art from the 11th to the 19th centuries;
Ancient Vietnamese sculpture from the 13th to the 18th centuries; Folk Arts and Crafts; Statues
before 1945; Statues in the period 1946 - 1954; Modern painting (Bài, 2017). At present (2016
- 50 years), the content displayed at the Vietnam Fine Arts Museum has been structured more
logically and logically according to the historical process and thematic suitable for the type of
historical FAM as follows: Prehistoric and prehistoric art; Fine Arts from the 11th to the 19th
centuries; Fine arts from the 20th century to the present; Traditional applied arts; Folk art;
Vietnamese ceramics from the 11th to the 20th century (Bài, 2017).

2. 3. 2 The Fine Arts Museum Ho Chi Minh (FAMHCM)

Many social history and heritage places are adapted for visitor attractions since they represent
distinctive characteristics that express the history, culture, or environment (McKercher, 2002).
These places also reflect the vibrant scene of a region's customs, cultural identity, and
surroundings. Although the critical goal of museums is to serve as custodians of the heritage
and cultures of areas and nations by preserving and restoring traditional historical objects

32
connected with those places (Cho, 2013), this task often includes the propagation of
information regarding and exhibit of their objects (Paul Capriotti, HugoPardo Kuklinsk, 2012).
For more than a century, these features affected museums to be accessible to visitor arrivals
for many purposes.
Museums are often being questioned to validate their viability, and this explanation is also
started demanding economically challenging. Museums might play a critical role in adding
regional or national income production, offering jobs or education, and minimizing cultural
issues in the macroeconomic social structure. The audiences' absences at museums or art
galleries in Ho Chi Minh City are progressively common in real life. The challenge lies perhaps
not in the massive change from colonial archeological collections to 20th-century museums
and galleries but also in the possibility that the community is not the primary target audience.
Although the Museum's definition has never been implemented and incorporated into the
citizenry's public activities, local involvement declined significantly. Museums of art present
a substantial obstacle to rationalizing and attracting visitors as arts and museums are unfamiliar
and unique to South-East Asian communities, especially in Vietnam. E.g., regarding items and
objects taken from their original contexts in monuments or monasteries and placed in a nearby
anthropology museum, citizens might see significantly less relevance. They did not notice that
art was distinct from crafts, which often serve in shared experience and are linked to rituals
and spirituality. The definition of art as anesthetics and amusement artifact had little part in the
local Vietnamese experience. Recent art projects may have opened their doors to the
establishment's culture, but most citizens also had no code to appreciate art pieces. One
challenge was the art space—the Museum as a touch zone—which did not occur in connection
with Western modernists' emergence in the region. The art museum's shortage has become
more problematic as modernism was confronted by contemporary post-modern and various art
forms. The divide between sculpture, galleries, and community has appeared to deepen.
The majority of Vietnamese museums are historical museums that reflect the country. The two
largest Art Museums in Vietnam: the Vietnam Fine Arts Museum (VFAM) in Hanoi and the
Fine Arts Museum Ho Chi Minh (FAMHCM), reflect the nationwide historical establishments
that uphold Vietnamese nationalist agendas. The VFAM honors the ethnic origins of the
Vietnamese people throughout Asia, defiance of external invasion, and endurance to war
hazards. The art specimens of the Museum are categorized into three cycles: from the earliest,
ancient to the 11th centuries, from the 11th to the 19th, and up to the 20th century. The dual
scope of the anthropological and fine arts is critical for the Museum to display its acquisitions,
informing the audience about the status of artifacts in Vietnamese culture while showcasing
their artistic elegance. Vietnamese artists integrate the advantages of global art while
maintaining their native personality (VNFAM, 2011).
Concerning the VFAM, the FAMHCM maintains a national archive of Vietnamese paintings.
However, it exposes the absence of works from the post-colonial Southern artists of the former
capital area of the South of Vietnam. After the Đổi Mới (Reform Era), Ho Chi Minh City
became Vietnam's socio-economic capital. The Museum became a central site for the society
to associate with the local and national art heritage. Therefore, South Vietnamese arts'
distinctive heritage has been ignored or otherwise blurred by the government-supported
cultural factual record from post-colonialism to reconciliation duration. Many art experiences
and artists in the southern Republic of Vietnam have been substituted by their Northern

33
communist equivalents (Corey, 2014). Whereas the philosophy of acquisition of the FAMHCM
remains conservative, the Museum has expanded its spaces to showcase more creative
Vietnamese contemporary art. The Museum has been leased to numerous arts organizations
since the 1990s to organize installations and activities. Nevertheless, this partnership is
intensive; the Museum exclusively controls the kinds of events it approves, provides limited to
no resource abilities to project administrators, and demands the planners to conquer many
administrative challenges. The Museum will terminate programs – as those it considers
excessively controversial or inflammatory – at a certain period if the activity does not satisfy
such criteria.
The Museum is planned to satisfy the requirements of the communities in the metropolitan area
to embrace visual art and be a destination for tourists to discover and explore Vietnamese art
historians. Over a preparation process for facilities and objects, the Museum was launched to
the community in late May 1989. At present, the Museum has over 21,000 objects grouped
into valuable collections. The museum artworks are divided into two critical areas: Classical
art - native crafts and contemporary art with notable acquisitions such as rebellion paintings
and artworks from Indochinese and Gia Dinh college artists. Other authors are Nguyen Gia Tri,
Nguyen Sang, Diep Minh Chau, Kim Bach, Dinh Ru, Quach Phong, etc. They represent the
core characteristics of the Vietnamese art community and fine art in the southern regions
(VNFAM, 2011).
2. 4 The current stage of exhibition in Fine Art Museum Ho Chi Minh
(FAMHCM)

2. 4. 1 Reflected on painting exhibits in the FAMHCM

Museum encounters can usually be included as evidence of what has become recognized as
traditions and cultural attractions (Johanson & Olsen, 2010) and consideration for what
influences tourist enjoyment. Harrison and Shaw (2004) suggest that tourist engagement is
considered a fundamental strategic priority. Satisfaction was often seen in museum
environments. For instance, Goulding (2000) investigates tourist results in the production of
exhibition encounters and proposes that scenery configuration, navigation, and crowding
concentration rates are essential. Admittedly, she concluded that so much prior literature on
museum visitation has been oriented toward socio-demographic analysis. Little consideration
has been devoted to the guest's perception that uses provided a sequence of substantive
behaviors. It might be asserted that service interaction is influenced by various social and
economic, cultural, emotional, behavioral, environmental, and social configurations, all of
which must be rendered when quality experience consideration is delivered.

Booth (2014) presented the latest museology study that alternative ideas on communication,
content production, promotion, and visitor engagement have helped attract visitors to art
galleries more comprehensively. Enrolling guests in the tourist gaze, encouraging this
perception to be optimized and personalized, and concentrating on impact rather than
philosophy, are facilitated by using emerging immersive technology tools, innovative ways of
curation, and fantastic architecture declarations. Conversely, verification of modern

34
museology's integrated and revolutionizing potential is sparse, both to broaden tourist
demographics and in approaches to societal community development (Booth, 2014).
Civilization shifts; the 19th century adopted contemporary frameworks are now under pressure.
Many approaches to society's standards threaten the museum's values and ideals, notably the
arts center. The post-colonial and postmodern society involve a comprehensive examination of
the community association, and the museum's existence can be named. Then the art museum's
obstacles concentrate on two sectors, all critical to its identification. Both contribute to the
postmodern authority's actual situation: the first addresses what should be expressed and who
need to speak; narration and expression matter. The second involves who responds, which is a
subjective topic, comprehension, and interpretation development.

Young folks' usage of museums and art galleries is a dynamic and competitive phenomenon.
It can anticipate the substance and consequences of indications of current policies on art
museums and adolescent people's thoughts according to their requirements, expectations, and
desires, as well as the probable factors behind their choices, in line with the increased practical
improvement of research and planning. Museums and galleries are considered places for many
youngsters' memories of compulsory field trips to contemplative displays in gloomy buildings
(Whittington, 1997; Anderson, 1997). They seem to be unable to utilize these facilities and
comprise a limited fraction of the total amount of tourists. Furthermore, most young people
tend to be neglected or disconnected from popular arts. Art is perceived as a minor theme in
the program during education, and there are minimal strategies for improving creatives or
exhibits (Harland et al., 1995; Hargreaves, 1983; Lazotti, 1988). Beyond college, traditional
masterpieces also often seem to be overlooked in younger viewing experiences. In contrast,
youngsters seem to be either at the fringe or uninterested in constructive engagement in art
experiences displaying a fascination with the youth's subculture (Willis, 1990; Visalberghi,
1988; Harland et al., 1995; Anderson, 1997).

2. 4. 2 Exhibitions and the dilemma in the FAMHCM

Vietnamese contemporary arts were initiated due to the many difficulties of visibility,
accessibility, and finances. A wide range of modern Vietnamese artists has matured throughout
the last two decades to represent what they perceive to become a more vibrant, authentic, and
regional vision of postmodern Vietnam (Taylor, 2005). While simultaneously experimenting
with different approaches to stretching modern art's philosophical and technological
parameters within the state safety margins and art industry (Kraevskaia, 2002). As Vietnam is
fast developing into a globalizing economy, social relations have facilitated Vietnam's
contemporary art between Vietnam and external societies. Numerous Vietnamese art
practitioners have traveled abroad to research, show, and cultivate, representing Vietnamese
arts worldwide and carrying their experiences and knowledge back to Vietnam (Kraevskaia,
2002). The emergence of the Internet in the 2000s enabled everything to be more comfortable
and quicker than ever before, investigating and sharing artistic experiences (Taylor, 2014).
Social networking is becoming an essential instrument for connecting visibility and sharing
discourse between artists, arts groups, and the broader community from domestic and
international cultures (Pearlman, 2015).

35
The FAMHCM seems to be disconnected from its audience, primarily younger audiences.
There are very few youngsters at the museum attending exhibitions or premiers; there are
multiple causes, two key factors to be discussed: a shortage of contemporary exhibits aimed at
younger audiences and the strong emergence of Vietnamese independent arts organizations.
Galleries and museums are perfect venues for cultivating an engaging association between
youngsters and the arts, focused on comprehensive engagement and youth desires and
expectations (Bourdieu and Darbel, 1991; Gardner, 1981; 1982). In contrast, integrated visitor
instruction (at any age), exhibition, or museum instruction focuses on individual observation
rather than established standards (Falk and Dierking, 1992; Falk et al., 1995). Throughout this
context, the museum's spontaneous characterization of instruction appears to foster dedication
to innovative, immersive interpretation mechanisms that relate primarily to youth's specific
systems of expression and standing. Based on O'Connell's research, there are three highlighted
critical priorities for youth-oriented museum education reform: a) identifying new positions for
youngsters; b) recognizing and determining their necessities; and c) creating new ways to
include both instructors and youngsters in the development phase (Lemerise, 1995). As
mentioned below, such priorities were established in several instances of exhibition and
museum youth programs, not just at the initiative execution level but also at the early phase of
its planning, judgment, and organization.
The initiatives coordinated by two Vietnamese independent organizations, including The
Factory Contemporary Arts Centre (FCAC) and Salon Saigon, address national and global
aspects of Vietnamese society, which are scarcely seen throughout nation agendas and the
printmaking industry. They identify domestic and international aspects. Many courses offered
a sophisticated view of Vietnam's background and social science challenges from locally and
internationally lenses, whereas some programs supported spaces for visibility of certain
minority groups. Vietnamese artists, curators, and social analysts addressed their political
orientation and traditions in other showcase programs produced by the agencies. The agencies
offer artists resources and encouragement for exploring essential Vietnamese cultural
constructs through individual development and training courses. Exhibitions, awareness
campaigns, and cooperation activities introduced the perspectives to local and foreign
audiences. These self-governing art organizations have delivered services desirable to specific
cultures; conventional productions are more attractive to standardized susceptibility, while
wide-ranging activities are attractive to the young audience. The multifaceted interactions
generated by independent arts agencies compete against Vietnam's monocultural nation
paradigm and economic narrative. Although Vietnamese art museums characterize the past of
republic, revolutions, and rebellion through woundless national perspectives, independence
exhibits address participants' emotional afflictions and experiences. Although the creative
advertisement industry accepts the dystopian interpretation of Vietnam, exhibits such as
TechNoPhobe at FCAC and Future ASIA Bodies at Salon Saigon portray Vietnam's
scientifically advanced, interconnected global embodiments. Whereas museums and the art
industry promote popular aesthetic appeal and mediums, including French impressionism and
silk painting, these two organizations are fascinated with reflecting and exploring the
possibilities of creative expression (see also FCAC, 2016; Salon Saigon, 2020) (Fig. 8).

36
 Fig. 8 Independence Vietnamese art projects, from left to right: TechNoPhobe at FCAC and
Future ASIA Bodies at Salon Saigon

Independent Vietnamese arts associations serve specific demographics with the opportunity to
grow communication about Vietnam. The impact is a complex, intricate, and social critique of
Vietnamese representations that have not been seen in national museums or the fine art
industry. Community alliances enable multicultural groups with the potential to cultivate
empathy and represent their viewer's personality norms and expectations. Thus providing
audiences a position in societal entities' programmatic and operational orientations; therefore,
audiences experience great satisfaction, integration, and appreciation of cultural organizations.

37
3. BIOGRAPHY OF DONG HO FOLK PAINTING
THE DANGER OF LOSING A LINE OF DONG HO FOLK
PAINTING IN VIETNAM

3. 1 Biography of Dong Ho Folk painting

3. 1. 1 History of Dong Ho painting village

Dong Ho folk painting line is one of the three most famous folk painting lines of our country.
Dong Ho is the place name of Dong Khe village, Song Ho commune, Thuan Thanh district,
Bac Ninh province. There is a pure Vietnamese village nestled on the south bank of the Duong
River, about 30km northeast of Hanoi. In the past, the town had the ancient name of Dong Mai
or the name of Nom was Mai village of Tong Ho, Sieu Loai district, Thuan Thanh district,
Kinh Bac town. According to the book Dai Nam Nhat Thong Chi (XVII, 1993) the Thien Duc
river (present-day Duong river) flows through Sieu Loai district (present-day Thuan Thanh),
also known as is Dong Ho river, with Dong Ho wharf. Thus, the place name Dong Ho has been
recorded in bibliographies for a long time (Nguyen T. Thu et al., 2019).

Dong Ho village is located in the middle of Kinh Bac land with thousands of years of
civilization. Since a few thousand years ago, Kinh Bac has had many Vietnamese villages
residing and establishing villages since the reign of Hung Vuong. Even in Thuan Thanh district,
there are ancient villages of Dai Trach (Dinh To commune), Ngu Thai (Ngu Thai commune),
Bai Giua, Song Dau (Thanh Khuong commune). A little later, in Thanh Khuong commune, it
is still famous. To an ancient political and cultural center of Luy Lau, also known as Lien Lau.
Thuan Thanh area was also an early Buddhist center with the center of ancient pagodas
belonging to the Tu Phap system, the earliest being Dau pagoda. Dau Pagoda was built between
187 and 226 AD, considered the oldest pagoda in Vietnam. There is a legend about the Indian
Zen master Tini Da Luu Chi, who came here to practice and propagate Buddhism from 580
AD (Nguyen T. Thu et al., 2019).

Furthermore, at this juncture is the famous But Thap pagoda with a statue of Buddha with a
thousand eyes and a thousand hands, and the wooden tower of Cuu Pham Lien Hoa. The pagoda
is located on the right bank of the Duong River. An area of Thuan Thanh literature has given
birth to Dong Ho village with the unique heritage of Dong Ho folk paintings. In the past, Dong
Ho village was impoverished, according to the oral tradition of the village elders. The village
does not have a tiled house or a brickyard (Dung N. D., 2018). In the past, the town was located
on the banks of the Duong River. The name Dong Ho village is explained there is a lake to the
city's east. This information is incorrect because the name Dong Ho has entered the
bibliography for quite some time. According to the elderly in the village, around 1917, the
town moved from the riverside to a higher dyke terrain. That is the location of the current Dong
Ho painting village. The villagers also moved the communal house outside the riverbank to the
new town in the dike. According to Mr. Nguyen Huu Qua, when he was a child, he saw water

38
flooded to the foot of the old communal house; perhaps because of this flood, the people of
Dong Ho had to move the communal house and move the village to its present location.

Fig. 9 Dong Ho village communal house, a place of worship and closely associated with
painting production

According to the Nguyen Dang family (Dung N. D., 2018) (Nguyen T. Thu et al., 2019)
(Nguyen T. Thu et al., 2019)Dong Ho painting village dated back to the Le Dynasty in 1527.
However, we do not have the material to test this document. Dong Ho village has a small
model, only includes 18 hamlets with 17 families, located in the middle of the critical
waterway, Duong river, near the focal point of 6 rivers (Luc Dau Giang), convenient. For
waterway traffic, it connects the four regions of Kinh Bac with Thang Long and the four ancient
lands of Hai Dong (Hai Duong). Such traffic advantages have contributed to making Dong Ho
paintings easy to distribute to many North and Central Vietnam regions. When Tet comes,
every countryside has pictures to hang on the right occasion. Dong Ho has folk as a roofed
village. There is a folk song about the painting profession in the roof village, it must have been
a long time, because these days few people know the Vietnamese name like the village. Dong
Ho is a small village, currently with only a few roofs. There was originally a handicraft village
with three ancient occupations: making horses, folk paintings, and artillery.

Fig. 10 The communal house yard is on a festival day, and the villagers offer offerings to a festival

Besides the famous folk painting, Dong Ho has the profession of making votive papers to
supply many places. Perhaps these two professions are closely related, both based on the
resources of the hands and with similar production techniques. The custom of destroying all

39
cryptographic elements spawns votive-making and specialty item-making careers. Dong Ho is
such a village. The lines of Dong Ho's code are full of spirituality. The row of horses is like a
bridge connecting the real world with the shimmering, fanciful, colorful, and super-imaginary
world where loved ones from the mountains are "dwelling.

Ancient bibliographies also record:

"In Sieu Loai District: General Dong Ho makes all kinds of people and objects"
(Vietnam Institute of Social Sciences, Institute of Han Nom Studies 2009: 76).
The Dong Ho craftsman made many artistic diplomas that did not slow down the process of
folk painting. The village has both a Painting festival and a Ma festival. During the celebration,
the Dong Ho people choose chickens to fat, code, become emperors, compete in the communal
house yard, and play chess. Besides pulling, they work as goods for Dong Ho villagers. More
firecracker jobs. Although Dong Ho produces both wares and dynamite, what makes people
remember many people are still making folk paintings.
3. 1. 2 Lines of folk paintings in Dong Ho Village
In the past, when people thought of Dong Ho folk paintings, they only thought of wooden and
hand-painted folk paintings. Conversely, the Dong Ho art staff also produced some world
paintings and made extra paper. Therefore, when studying Dong Ho folk paintings, it is
impossible to talk about world paintings and paper paintings besides the line of wooden and
hand-painted paintings that we still call Dong Ho folk paintings.
3. 1. 2. 1 Do The paintings
Paintings made by artisans Dong Ho produce to serve religious and spiritual needs. The
mentality of the people in the past was that there was an afterlife; people still had to have an
average daily life and production. They also could return to the world of the living to harm
people, animals, and the world object. So they require a kind of web world graphics for a
particular person or animal, with the human desire peaceful life, not destroyed by evil spirits.
Expressive paintings are often made simpler than other folk paintings in Dong Ho (Chuong,
2010).

Fig. 11 Elephant and horse painting, Do The painting of Dong Ho village.

The model belongs to the family of artisan Tran Nhat Tan. Size 26x37cm.

3. 1. 2. 2 Engraved paper paintings

40
According to painter Duc Hoa, a well-known researcher, as there are not many articles on
printed paper, this is a study on this type of painting in Vietnam, a kind of painting that few
people know, rather than say anything. big head up. While there are several articles and a few
dense books on the famous Dong Ho painting series, it is confidential as there are no research
articles on this type of painting in Vietnam. The same product produced in Dong Ho village,
the folk paper Troop painting, is a junior born after the Dong Ho painting line (Chuong, 2010).

It is indeed challenging to find a great start-up of painting paper in our country. The memories
of Dong Ho artisans only show that some artisans in the village had small souvenir paper a few
generations ago during the French colonial period. It was also a time when they made a
beautiful picture of Two vases (2 vertical panels) or Four vases (4 vertical panels). On the other
hand, if Dong Ho folk prints all images on the newspaper, there should be a couple of sturdy
parts, "the dish is finished." The paper pictures are often broken, must be glued on the
parchment background, or if not, must be pasted up the glass or time to without the format
when viewing backlit. Painting paper is a standard feature of China, capable of transforming
everything into determinants. Paintings are charms, pray for peace and fortune, and are often
glued on glass. Meanwhile, Dong Ho folk drawing paper is somewhat simple, rustic, bold in
the countryside. We usually for decoration, souvenir and small size (Phuc, 2015).

Fig. 12 Multi-layer paper carving process

Around the years 1955-1980, several Dong Ho personnel were recruited into the management
department in art agencies. Such as the Vietnam Fine Arts Museum (Mr. Nguyen Dang
Khiem), the Vietnam College of Fine Arts (Ms. Nguyen Dang San) or the College of Industrial
Fine Arts and National Culture Publishing House (Nguyen Dang Che), with the mutual
influence, all modern painters and artisans were created for several people. A powerful tool
that uses paper technology to create paintings that can be hung at national art exhibitions and
other exhibitions. It was also the heyday of Vietnamese paper painting: the Vietnam Fine Arts
Museum purchased and collected some of Nguyen Dang Khiem's images as original works of
art (Phuc, 2015).

The topic of drawing paper: If it is a paper, the topic is always simple: flowers, plants, animals,
insects. Sometimes it is not a picture but just a condensed and simplified image to formalize
through the stroke (Dung K. , 2013). A few years ago, staff member Nguyen Dang Che in Dong
Ho village was still selling Dong Ho paintings and papers, mainly a set of 12 animals. In Hanoi,
it is also a document. However, the father and son of artisans Dang Khiem - Dang Giap made

41
the whole picture of 4 lonely women (removed details), looking more luxurious and going to
the page of modern papers, with topical topics:

• Uncle Ho's portrait

• Collective production
• Development of poultry flocks
• Both production and combat
• Encouragement of young people to join the army

Fig. 13 Set of paper cards "Long, Ly, Quy, Phuong".

Sample of the family of artisan Nguyen Dang Che. Size 16x21cm.

The images in modern folk papers are modern characters such as leaders, soldiers, farmers,
militiamen, or cooperatives members (Nguyen T. Thu et al., 2019).

• Picture frame: In the form of white paper, the time paper is also small in size: the
time was placed on a 10 x 12cm background, now raised to a 12.5 x 18cm
background (folded in half for the other page to allow the buyer to have a copy of
the paper). We can write, save and, sign, send to family, friends, or partners). The
set of 12 zodiac animals is also included in the cover book of 15 x 19cm, with
solemnity: Dong Ho paper painting + picture of a horse + caption below: artist's
name, medal, address, phone. Nevertheless, make papers (glued on white paper)
only about 8cm x 12cm in size and paired in circles, ovals, or squares. Quartet
paintings are about 20 x 60cm or 25 x 60cm each. The To Nu set alone reaches a
size of 30 x 70cm each.
• Paper painting technique: Usually, people scan and transfer some parts on the
paper, then dry and create a very sexy color-played visual effect. Artists rank 3 - 4
- 5 layers of colored paper and then arrange. More layers will be too thick and
difficult to learn; the fee is public for thin coal. Peel off the coating and paste it
with a white parchment profile to make it stand out. The knife is also sharp when
carving wood, sharpening it very well.

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 • Decorative paper unique folk papers: it should call "metallic" because, in the past,
artists used paper coated with a metal such as copper, silver, or gold and gold. Page
Kim is a non-standard word usage that has been familiarized. The paper coated
with gold, silver, or copper luster may have been industrially produced, which is
very available and beautiful. Drawing paper needles are often stored, removing
unnecessary blanks, keeping the plot that needs to show. Usually, there are 3-5
layers. The gold or silver metallic page is always at the bottom, considered the
base. Artists use the technique of perforating metal to make paintings.
On the other hand, they do not draw lines on gold foil because it will be ugly. The
floating metal points will be fancier and more attractive than the strokes. They then
graded the colored paper so that the integration was slightly smaller, the layers of
colored paper on the same layer as small as possible. As explained by artist Dang
Giap, the term craft village means arranging smaller color patches, gluing profiles
on top of each other, creating fascinating color transitions allowing the below color
to come out vividly.
The late artist Dang Khiem used many paintings with folk themes, such as the quartet of four
seasons and four female elements. It was during the difficult time of granting that his website's
drawings and papers improved and advanced to the pinnacle (Nguyen T. Thu et al., 2019).
They are composing tools according to modern ideas and performance styles. Today's standard
painting tools still follow ancient themes but sometimes are very topical, such as Uncle Ho
Do's Portrait. In the latest fashion, artist-artist Dang Giap also created a few metal paintings of
Ba Trung and Ba Trieu with the media just created. Today, Mr. Giap still spontaneously
composes tinsel paintings for sale or exhibition. This painting is a very detailed picture,
meticulous to the feat with many stages to be careful because if done wrong, the image will be
damaged immediately! The paintings sell well because of their rarity, limited quantities, vibrant
colors, and no competition. According to artist Nguyen Dang Giap, sometimes, to use materials
to make folk paintings, people save trifles to make pretty paper pictures. There are paper
drawings with images, and horses are prevalent (Phuc, 2015).

Prepare paper color.

Draw sample and model. Scan and transfer several
colors on the paper.

Place the shape on white

parchment under the Paint the painting on
colored paper liner and white, black, or Dó
proceed with a paper.
specialized knife.

Fig. 14 Describe the paper carving process for single paper carving (1 layer)

3. 1. 2. 3 Wooden folk paintings

The last of the Dong Ho paintings is the most well-known, folk paintings produced by
woodcarving for printing or hand painting. Temporarily dividing those types of images by

43
logic, execution, wood paintings, and hand-drawn paintings account for many long-standing
researchers, artists, and the public enjoying too many.

Fig. 15 Woodblock prints are used to print each color layer of Dong Ho folk paintings.

3. 2 History of Dong Ho Folk painting (DHFP)

Dong Ho's painting profession is said to have originated when people began to grasp the wood
carving technique of Lieu Trang from the mid-15th century (Nguyen T. Thu et al., 2019). The
painting profession of Dong Ho village officially started around the 17th century. Dong Ho
village has trade advantages near the wood carving village in Hai Duong in terms of
geographical location. This village provides wood carvings for prints. Some surrounding
villages, such as Dao Tu, produce pine brooms for painting and painting. Dong Ho village has
all the necessary conditions to become a traditional Kinh Bac folk painting village.

Fig. 16 Paintings of Playing flute and carring buffalo, and Paintings of Group of fish,
typical Dong Ho paintings

Besides making Dong Ho folk paintings, people also made votive paper (only paper objects
and used to burn when worshiping the dead) before 1909. History books of the Nguyen Dynasty
period recorded the profession. Votive paper and Dong Ho painting craft coexist and support
each other. During this period, Dong Ho village was a significant center of painting production.

Dong Ho folk paintings have the feature of not having an artist's registration. The person who
created the model and printed and painted the picture did not leave any traces on the picture.
However, the people of Dong Ho village still remember all of the artisans in the village. They
are the true creative artists; their works are the original model for Dong Ho artists to follow
and create more diverse paintings (Tran Lam, Trinh Sinh, 2011).Before 1945, the French

44
imported ram paper and pigments, adding modern materials to the craft of making folk
paintings.

Around 1960-1961, Song Ho Agricultural Cooperative was established, the first folk painting
group was born. The cooperative contracts to members of the cooperative at the stage of
coloring materials. Many Dong Ho folk paintings were first printed in the "Folk paintings"
collection. In 1971, a collection of 15 pages of Dong Ho folk paintings, printed according to
traditional techniques, participated in the International Book Fair (I.B.A) held in Leipzig
(German Democratic Republic) and won the Gold Medal (Tran Lam, Trinh Sinh, 2011). Before
1986, Dong Ho paintings were exported to socialist countries. Typically, the set of paintings
of Quan Am Thi Kinh, including four paintings by artist Nguyen Dang Khiem, attended the
Vietnam Culture Week exhibition in former Czechoslovakia (Czech Republic).

In 1990-1991, artists Nguyen Huu Sam and Nguyen Dang Che respectively established their
painting production facilities, restoring the current color paintings. In 2013, the Dong Ho folk
painting profession was recognized as a National Intangible Cultural Heritage. In March 2017,
the President of Bac Ninh province approved a detailed outline to develop a national candidacy
file to request UNESCO to include the profession of making Dong Ho folk paintings on the
list of intangible cultural heritage in need of protection emergency. The dossier development
period lasted three years, divided into two phases: survey research, inventory, consent form,
construction, and submission of dossiers on time.

3. 3 Dong Ho Folk painting process

3. 3. 1 Prototyping techniques
Prototyping is an important step. In the past, artisans often chose stable antique models. At that
point, besides the antique models, the artisans began to create new ones. New models are
improved with more details, villagers comment and edit more for artisans to complete the work.
Choosing a new model will come to the engraving of the plank. Initially, the woodcarvers were
mainly from Lieu Trang village. After that, artist Dong Ho can compose and take samples.
When creating a pattern, the artist must determine from the very beginning: distinguish which
patterns to print and which ones to print and color, and colorize accordingly.

3. 3. 2 Wood carving technique

After making a new pattern, carving a plank requires the artisan to separate the pattern into
each plank. Each pattern is a printed board. When finished printing, the overall picture will be
published. Usually, a picture has to be engraved with many boards, maybe up to 5 boards for
five different colors. There are two types of boards, printed boards and color printed boards.
The worker, when printing, must align to the correct position to avoid the same color.
According to the image on the plate paper, the engraving must be smooth, with a high degree
of flatness to make a negative on the engraving board. After printing is completed, the result
obtained is a positive of the picture (Nguyen T. Thu et al., 2019).

45
 Fig. 17 Thi type of wood, Ink cage wood used to engrave printed boards and wood carving tools

Wood for making carving boards must be smooth, flexible, durable, color-permeable, and not
chipped. Artists regularly use Thi wood, Jackfruit wood to make printed boards. There are
repeatedly types of wood for color printed boards with flexible, smooth, and have a porous
texture that is easy to absorb the color. Printmakers often choose wood from a few years ago
to cut the boards, dry and press them flat, then smooth them to avoid warping. Tools for carving
boards are iron chisels of different sizes to meet each need for carving boards. The people of
Dong Ho village consider printed boards to be heirlooms, passed down from generation to
generation, but printed boards have minor wear and tear. Others can be saved for fifty to a
hundred years.

3. 3. 3 Do paper production techniques

The beauty of Dong Ho paintings correspondingly comes from special printing paper called
Do paper. This type of paper has been produced by the Vietnamese for hundreds of years this
year in Yen Thai (Ha Noi capital), Dong Cao (Bac Ninh province). Do is a particular type of
paper, with long durability, used to print scriptures and folk paintings. Dong Ho paintings often
use dó paper materials from Dong Cao village (Bac Ninh province).

Soak Do Dough Stir paper

Squish Do Pressing
Cooking Do and pulp paper
mixing

Stir Do Peeling Do Dry

Fig. 18 Do papermaking process

Fig. 19 Papermaking process Do at Dong Cao village, Bac Ninh city

3. 3. 4 Diep scanning technique

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No more than Dong Ho paintings have a way to stir up the wind to sweep shellfish powder on
the surface of the painting. To make the iridescent beauty of scallops is a unique, labor-
intensive, and centuries-old technical process: the craft of making oyster paste.

Fig. 20 A sample of white scallop shells and the production process of scallop powder

Workers need to go to the sea to collect dead scallop shells specialized for making paper (Mop
disk shell). This type of oyster has paper-thin, moon-colored color or lives in shallow coastal
waters. When bringing the shells back, the worker must pick up all the mixed shell fragments,
then wash them thoroughly and dry them. Then, they put the cockles in the mortar and pounded
them like rice into a powder for two hours. Today, this process uses a motor blender to replace
human power. The result is a fine, milky white powder. After that, the powder is mixed with
water and then holds a round ball, dried for use gradually. When making folk paintings, people
mix that powder with the paste made from glutinous rice flour to create a smooth, viscous paste
and then use a pine brush to sweep the surface of the Do paper to create a specialized Diep
paper.

Fig. 21 Process of mixing scallop powder with glutinous rice and applying it on the surface
of Do paper

3. 3. 5 Dong Ho painting production techniques

Technique of printing face-to-face, color overlapping
Dong Ho's painting production techniques include hand-painted and then printed, painted with
color strokes, and printed and then stroked. The traditional way of printing Dong Ho paintings
is printing like a stamp, different from the backboard printing of Hang Trong folk paintings
(Khue, 2015). The Do paper is below; the engravings of each color are close up. The final
product is a multi-color painting mixed with different prints. The worker will print each copy
in turn, one color at a time, but make sure the colors match and do not smudge. Therefore, the
craftsman must make woodblocks that have a final match. Another technique is color overlay
printing, which creates intermediate colors or vibrant patches of color without drying. The
craftsman intended to create an exciting novelty for traditional folk paintings.

47
 Fig. 22 Steps to print each color of a finished painting

Printed boards are trimmed so that there are no excess spaces, avoiding ink lines and smudges.
Therefore, the board often has a curved shape according to the part of the image printed in each
color (Hang, 2006). The used plank usually includes one stroke and many color boards. The
color board has four engravings. A printing color overlap will create six colors. A good artisan
will know how to mix colors for the eye.

Fig. 23 The technique of "blocking" colors creates different shades of light for the picture

Fig. 24 The printing technique uses many color boards to create a bicolor color

When engraving the pattern, the craftsman uses a pre-engraved plank to get the overall outline.
Nevertheless, the stroke board is the last printed board when officially printed. The process of
rubbing the loofah on the back of the Do paper depends on solid or weak rubbing force to get
different dark and light colors. Even the gender of the craftsman affects the force of color
hitting the painting (Hang, 2006). Typically, men have a more robust color hitting force than
women, so the color of paintings is darker woman paintings. Through the production stages,

48
the craftsmanship of Dong Ho folk paintings can be seen. Each painting is a different
expression through the selection of colors and many influencing factors.

PS 1. Brush the ink with a brush to penetrate the cover

PS 2. Press the engraving on the cover to absorb the engraving

PS 3. Print on paper like a stamp

PS 4. Use a loofah to rub the back of the paper until it has

enough color, and then remove the paper

PS 5. Print the color blotting on paper

PS 6. Print each color layer in turn. When making engravings,

pay attention to creating landmarks on the board.

PS 7. After printing, the picture is attached to a bamboo pole

and brought to the yard to dry

Fig. 25 Dong Ho Folk Paintings Stage (PS)

Coloring materials
A unique feature in Dong Ho folk paintings is the coloring materials from nature. These
materials are taken from trees, grass, flowers, leaves in the countryside, such as flower buds,
indigo leaves, wine bark, Gac fruit powder, bamboo charcoal, copper rust, placer. The
craftsman also mixes many other intermediate colors from the essential color palettes based on
his experience and aesthetic sens

49
 Black White Red Orange Yellow Green Blue Pink
e

Use
Use bamboo
bamboo Crush the The vermilion Grind the Cook Hoe Taken from Buy from Mix scallop
leaves
leaves and
and white scallop stone on Hien flower flower buds the leaves of ethnic shell with red
straw
straw toto burn
burn Thien Thai to form a to thicken, the minorities, lipstick
shell, then
to
to ashes,
ashes, put
put inin mountain is powder, then mix
a barrel to soak mix it with mangosteen soak indigo
a barrel
for a year,to soak glutinous rice broken into then mix it with tree, pounded leaves to get
for a year,the
decanted a small dam, with glutinous rice sage leaves, color
decanted the
condensed finely ground, glutinous mixed with
water,
condensedand dried, filtered, rice glutinous rice
then
water,mixandit then and mixed
with
mix itglutinous
with
rice with glutinous
glutinous rice rice flour

Fig. 26 The method of creating paint colors from natural materials

The paper backing stitch to color the background must use light scallop powder to apply a few
layers to make it white. The final paint will create a beautiful grained paper-like fine wood
grain. When painting, the artisan must use a pine broom. Paint must be vertical with pictures
showing people's faces, horizontally with pictures of animals.
3. 4 Classification of Dong Ho painting themes

Dong Ho folk paintings are one of the three major lines of Vietnamese folk paintings. The lines
of paintings almost all depict topics such as wishes, worship beliefs, charms, and religious
rituals. Dong Ho's paintings have an idyllic beauty, with a whole line of Tet and worship
paintings (Hang, 2006). In the integration and interweaving of Vietnamese folk paintings,
Dong Ho's woodcut paintings have some specific characteristics on the subject, ordinarily
including nine types as follows:

i. Worship paintings: This topic is an array of Dong Ho paintings with religious

and spiritual themes that people pay great attention to the painting. The gods,
handed down in folklore, are included in paintings such as Master Cong and Master
Tao. In the people's minds, these gods bring prosperity and happiness, which
farmers highly value. Some other gods, such as Than Tai, symbolizing the god's
wish to be protected and peaceful life, are also included in Dong Ho paintings.
People believe in supernatural forces to help them relax and overcome difficulties
in daily life.

ii. Painting of couplets, five fruits: The couplet painting, also known as the picture
book of the letter, is a traditional Confucian culture. This type of painting is usually
hung in the middle of the house. The painting of the book often depicts symbols of

50
Oriental culture such as dragons, phoenixes, gathering clouds, and the sun with a
high educational meaning.

A couplets picture is two lines of large letters drawn vertically and symmetrically.
Artists will transform the word Confucian into decorative shapes with more
colorful colors than the couplets in the temple. The words on the couplets carry the
wish for a peaceful life and gratitude to the ancestors.

Five fruits is a Tet offering consisting of five different fruits. The lines of folk
paintings used to paint five-fruit paintings for sale during Tet from the mid-
twentieth century to the end of 1989-1990.

iii. Tran Trach paintings: This line of paintings is hung to protect, exorcise, and
bless the owner. The people of Dong Ho village used to hang pictures from the gate
of their house. These types of paintings are usually hung from the gate. The main
drawings are Vu Dinh, Thien At.

iv. Historical paintings: The theme of the paintings often revolves around heroic
characters such as King Ph Dong Thien Vuong, General Tran Hung Dao, General
Ngo Quyen fighting the Southern Han army, General Dinh Tien Hoang, Hai Ba
Trung. In addition, the theme also has an array of paintings related to folk martial
arts such as wrestling, arena, tug of war, buffalo fighting.

v. Congratulation painting: The painting shows the desire to have much fortune in
life, develop fame and career, and hope to change people's lives. Paintings usually
come in pairs, with Chinese or Confucian characters added. The paintings often
use images of officials reading books or stylized images of animals acting like
people studying and teaching. The painting also stylizes the words Tam, Phuc, Duc,
and Tho to express the desire of the people of Dong Ho to pass the exam.

vi. Paintings satirical: The relationship between villagers and village officials is
reflected in this line of paintings. The mandarins were consistently exploiting and
demanding bribes, causing many difficulties for the villagers. Therefore, Dong Ho
folk paintings borrow the mouse wedding scene to talk about the image of
corruption and bribery of cats that are critical of the mandarin regime. The images
used are often metaphorical, with deep meanings that satirize the problems in the
old society.

vii. Comic paintings: Comics are primarily illustrations of fairy tales or legends
passed down orally through folklore. Through the talents of the artists, the old
stories are vividly expressed by lines and colors, selecting typical scenes according
to the artists' understanding. Comics commonly have several consecutive pictures
drawn along the vertical axis and form a duo. Paintings are often written with Han-
Nom characters to clarify the meaning of the plot.

51
 viii. Decorative picture: This line of paintings depicts the beauty of man and nature.
Sometimes only paintings praise the pure beauty of animals or farming scenes of
farmers.

ix. Paintings of daily life: This painting depicts the people's daily activities such as
chess, swinging, dragon dance, lion dance, wrestling, sword fighting, tug of war,
and buffalo fighting. A couple of paintings also show the fun when depicting scenes
of jealousy, playing swings, sometimes changing the subject to suit the context and
time.
3. 5 Dong Ho painting. Vietnamese folklore value
3. 5. 1 Value socialiation of Dong Ho paintings

When we carefully study the value of Dong Ho folk paintings, we can see that the images carry
many cultural values. The themes of the paintings reflect all aspects of the life of Vietnamese
society, in which agriculture was the main focus of are the daily activities of farmers and their
livestock, poultry, and their aspirations simplicity of the people at that time.

Through the images of folk paintings, viewers can understand the social context and
comprehend many unknown artists' talents. Folk paintings are a treasure of the cultural heritage
of invaluable Vietnamese peoples, from the largest ethnic group to the ethnic minorities living
throughout the country.

Unlike modern art paintings, folk paintings are the closest to the daily life of farmers, which
occupied the majority of Vietnamese society in the past. Most of the painting themes revolve
around pigs, chickens, fish, toads or fields, thatched roofs. The simplicity and proximity to
rural life make folk paintings have a substantial spread from the South to the North. Moreover,
the distribution of pictures is from the village fairs held periodically according to the village's
custom.

Paintings are most frequently bought and hung during Tet. Whether poor or rich, every house
must have at least one folk painting hanging in the home. Along with "Fat meat, onion pickle,
red couplets / Trees, firecrackers, green Banh Chung," folk paintings have long been a familiar
recipe of the Vietnamese traditional Tet holiday. The beauty of the paintings and the close
content is reflected in the rustic and natural color scheme; the Do paper material goes through
many stages and the layout and unique decoration. The price to buy a Dong Ho painting is not
exclusive, suitable for the pocket of the rural people. Through paintings, people put into it with
the desire of everyday life to come to Tet; the topics of paintings also help their hearts.
3. 5. 2 The artistic language of Dong Ho paintings

Dong Ho's painting is an actual work of art. The beauty of painting lies in the graphic art of
visualizing. The first is how to create clear, coherent bold lines that are usually printed with a
black border. These borders surround different dark and light colors to create a vivid effect
(Art Institute, 1973).

52
a. Material: The drawing is placed on a glittering Do paper background. The raw
material of dó paper has edges that do not need to be trimmed flat. The surface is
rough as if it has just been made from the factory, along with the natural carding
lines, making the picture rustic beauty, increasing the painting effect many times.
b. Surrealism: The beauty of Dong Ho's paintings shows the surrealism of the
paintings. Please take a picture of the Pigs as an example; although the pigs are
drawn from a horizontal perspective, they are still depicted with two ears and two
nostrils like a straight view. This style is different from the realistic style like the
photographic method. The style is a description dating back to the Dong Son
culture. The ancient Vietnamese described the bird flying on a field drum; when
looking at the bird's body, viewers still see the fish with two wings spread. Another
style is that the artist ignores the law of myopia to focus on the main subject. Many
paintings have the ratio of a fish or shrimp as long as the boy holding the animal.
Sometimes baby sentences are drawn sitting on a large cat. The artist's purpose is
to put the images together to create unique surrealism.

c. Artist: It is worth noting that the anonymous artists who paint Dong Ho paintings
are all from their romantic imagination and their memory. In contrast to the painters
who paint realistically depicting nature and people. The use of recognizable lines
compared to other paintings exudes a liberal, rough, unpolished quality.

d. Color: Alongside, it is impossible not to mention the art of playing color in Dong
Ho paintings. Researcher Henri Oger recognized the difference between
Vietnamese and Western paintings: "An Nam folk paintings are presented in the
form of a collection of strong, contrasting colors. Through these paintings, people
realize preference for bright colors" (H. Oger 1909). A black border binds the
images in the picture. The layout is opposite and flexible. The painting uses
primary colors and pairs of opposite colors such as red-yellow, green-orange, and
white-black to create a unique feature for Vietnamese folk paintings. The features
of using colors are strong and colorful, such as accents in the general context such
as communal houses, nail columns, and stone feet in favor of cold colors. In
addition, the bright and striking colors are also a signal to welcome spring, creating
joy for the new year.
e. Block array combined with message material on paper: The block array in the
picture is shaped according to the principle of convention, rustic, uniform texture.
The good-looking feeling comes from the robust and harmonious block with the
array. Artisan Dong Ho has created many unique creations, unlike any other in the
world, using scans as the background of drawing paper. The material is also
scanned for vertical or horizontal grain to highlight the image that the painting
wants to reflect. Painter Vu Dinh Tuan commented: "Paper material creates
"resonance" and depth, making the colors printed on the paper background more
splendid." The colors emitting sound an intermediate layer of padding makes it
easier for the printed colors to catch on to the paper.

53
 f. How to hang Dong Ho painting: Numerous Vietnamese families in the past not
only hung one picture but hung many pictures in groups of pictures. The central
painting is located between the houses to worship ancestors. Two house pillars are
two red couplets. At living space would hang pictures with historical themes (Hai
Ba Trung, Dinh Tien Hoang) or lifestyle themes (wrestling, jealousy, coconut
collection). Paintings of earthworks, battles, and gods are often hung at the house
door.

3. 6 The danger of losing a line of Dong Ho paintings in Vietnam

Through many ups and downs of its history, Dong Ho folk paintings are motionless a valuable
cultural heritage in the treasure trove of Vietnamese folk paintings. Nonetheless, in the era of
developing science and technology, this line of folk paintings faces many risks of being lost
and gradually disappearing from the young community in particular and the Vietnamese people
in general.

In 1967, in the face of the increasing danger of villagers giving up making paintings, the local
government assigned artisan Nguyen Huu Sam to gather 50 enthusiastic and highly skilled
artisans to establish a cooperative produce Dong Ho folk paintings. Thanks to that, Dong Ho
paintings were revived and exported to many countries worldwide, such as Japan, France,
Germany, Singapore, and the US. However, by 1990, Dong Ho paintings were no longer as
famous due to the impact of the market economy and changes in people's tastes. Dong Ho
painting production cooperative dissolved. In just a decade, more than 90% of households in
Dong Ho quit painting and switched to other occupations with higher incomes (Lu, 2018).

From 1990 until now, the profession of making Dong Ho paintings has existed in solitude, with
only 2-3 households remaining in the village. From more than 50 artisans, the whole village
now has only a few artisans and about 20 workers. In the face of the danger of losing their old
craft, the family of the late artisan Nguyen Huu Sam and artisan Nguyen Dang Che have not
hesitated to spend money to collect thousands of precious engravings for many years from old
artisan families (Lu, 2018). The artisans are dedicated to passing on their craft to their
descendants. The next generation of artisans has continued to create, inherit the legacy of their
ancestors, preserve traditional folk paintings and create many new paintings following market
demand. Artist Nguyen Huu Qua - the second son of the late artist Nguyen Huu Sam, has
become the owner of a famous painting factory in the village, attracting many domestic and
international tourists to enjoy and buy paintings.

Artisan Nguyen Dang Che's family has invested nearly 3 billion VND to build the Dong Ho
painting preservation and preservation center with a paper production area, a painting printing
area, and a display area for visitors. This center is a place where young people in the village
learn how to make paintings and learn about the traditional craft. The center for the preservation
and preservation of Dong Ho paintings of the family of artist Nguyen Dang Che is the most
prominent place to preserve and preserve Dong Ho paintings in the country and a familiar
address for those who love folk paintings.

54
Contiguous, according to some artists, Dong Ho paintings are no longer innocent, simple, "pure
Vietnamese" like before, but are gradually being commercialized, without the deep colors like
ancient paintings. Because white color is mixed into the scallops to save the number of scallops,
causing the paper to lose its iridescence. At the same time, the colors used also changed to
industrial colors for cheap and convenient. The new engravings are often rough and sketchy,
not as delicate as the old ones. In particular, some engravings have been chiseled out of Chinese
characters, or Nom characters, which are part of the composition of the paintings, causing the
paintings to lose their completeness.

Today's profession of making Dong Ho paintings exists "weakly," only a few families
maintain. According to recent statistics, the number of artisans is only three people. The
number of practitioners is about 20 people. The number of artisans who can still teach is only
two people (Mr. Nguyen Huu Sam and Mr. Nguyen Dang Che) were elderly. Faced with this
risk, the Provincial Party Committee and the People's Committee of Bac Ninh province have
had several guidelines and measures to preserve and promote the value of the intangible
cultural heritage of Dong Ho folk painting craft. Such as promulgating Resolution on
developing handicraft villages, including Dong Ho folk painting; promulgate Decision on
construction and development of concentrated industrial parks assigned Bac Ninh Department
of Culture, Sports and Tourism to implement the project "Preserving the intangible culture of
Dong Ho painting village." The Party Committee, authorities, and people of Song Ho
commune, Thuan Thanh district proposed to the Ministry of Culture, Sports and Tourism to
organize a survey, assess the current situation, organize a scientific seminar on the profession
of making folk paintings Dong Ho space. Then, the committee made a dossier to request
UNESCO to register it on the List of Intangible Cultural Heritage in Need of Urgent Protection
at 2017.

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4. VIRTUAL REALITY

APPLICATION OF VIRTUAL REALITY IN FINE

ART EXHIBITION
4. 1 Introduction

Museums are known to tend to display static exhibits. This is understandable since the outside
target is to provide knowledge information, and this is a place to store and secure historical
arrays. Nonetheless, with the Virtual Reality museum in use, it is possible to dynamically
change this feature.
Malreaux (Malraux, 1978) was one of the first people that introduced the concept of a museum
which was a different kind of environment without walls for viewing and performing art.
Lately, the concept of a virtual museum and technology was coined by Tsichritziz and Gibbs
(D. Tsichritzis, S. Gibbs, 1991).They named it the term "Virtual Museum" and it has emerged
until nowadays.
The purpose of museum exhibitions is to disseminate precise messages from the objects to their
visitors, which are being noticeable through the form and display of exhibited objects within
the museum background. By using multimedia with virtual reality and providing multisensory
experiences, scientific and cultural information communicated by museum exhibitions can be
augmented (Grigore Burdea, Paul Richard, Philippe Coiffet, 1996) (Christopher D. Wickens,
Diane L. Sandry, Michael Vidulich, 1983).
With augmented reality features, museums in Ho Chi Minh City (HCMC) can bring art to life.
Scientific concepts, architectural details, and other elements that visitors are granted by
revealing it from a different and extensive perspective. This not only makes it easy for visitors
to answer questions but also partially reflects the story behind an era style, an influence and
allows the user to have a sense of authenticity during the discovery process (HoaLT, 2019).
The article Applying Virtual Reality (VR) to Enhance the Interpretation of The Museum of Art
(TMOA) in Ho Chi Minh City is part of the project Dong Ho painting restoration project used
in magic exhibitions at TMOA in Ho Chi Minh City, has been taken in two years from 2020 to
2022. The project has focused on the propose of a Virtual Environment (VE) that would enable
museum visitors to view and manipulate 3D exhibits. We will renovate the classic Dong Ho
paintings, which most popular and famous in Vietnam culture from 2D painting to 3D
modelling. In the next step, the project also redesigns the interior space of TMOA focus to
serve the new 3D environment experiment. Furthermore, the necessity of numerous
experimental evaluations defines for determining the best structure of VR devices. The quality
of the configuration would enable users to navigate within the VE parallel control exhibits in
an effective and perceptive manner. The number of people participating in museums required
the diversity of their age, sex, occupation, and level social. They will attend through the VE by
using the Oculus glass and fill multiple-choice questions to explain their communication
feelings in the end.

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4. 2 What is virtual reality
Virtual reality (VR) is a computer simulation that creates images of a world different from the
physical. More specifically, virtual reality is a medium that allows actual participants to
immerse themselves in some environment other than physical reality. People can use virtual
reality as a medium to share ideas and experiences. The experience part is a "virtual world"
created on a computer, called a virtual world. This computer simulation will track the
participants' movements and adjust the sensory screen to bring them to the child. As Sherman
and Craig define, people feel immersed and present in the simulation: A medium composed of
interactive computer simulations that sense the participant's position and actions, providing
synthetic feedback to one or more senses, giving the feeling of being immersed or present in
the simulation (Alan B. Craig et al., June 2, 2009).

Fig. 27 Commonly used technical tools of VR system

This definition suggests that virtual reality experiences will create synthetic stimuli for the
user's multiple senses. The highly stimulated senses in a typical VR system are sight, sound,
then cutaneous haptic (touch), and force recuperation. Some senses such as vestibular
(balance), olfaction (smell), and gustation (taste) are rarely used.
In order to bring high-quality real feelings to users, there are many special hardware devices
involved in the VR experience. The device that helps display the familiar experience
environment is a head-mounted display (HMD). HMD is a device that contains a small screen
in front of each eye, with a strap around the head. In addition, VR technology is also displayed
on a large screen or a combination of screens when it is necessary to cover many participants,
collectively known as the large test screen (Alan B. Craig et al., June 2, 2009).
Some terms are often used in the process of experiencing virtual reality, such as tracking human
body movements, user navigation, or cyberspace. Cyberspace is a term describing two user
objects in two different spaces that can communicate through a virtual intermediary platform,
creating a feeling of close interaction for users.
Two other terms that are equally important are "telepresence" and "augmented reality" (AR).
Telepresence, although similar to VR in terms of means to place participants in a different

57
location from reality. The differs in that this location is due to geographical reasons or the
terrain is too rugged or dangerous and inconvenient for people directly going there. Augmented
reality (AR) also brings users an altered view of the natural world. The difference is that the
actual space is still present, and AR adds virtual images to the user's normal senses. For
example, users' sense of sight can place more objects in space, and doctors can see through the
patient's body or the mechanical parts inside military equipment (Alan B. Craig et al., June 2,
2009).
4. 3 Virtual reality system
Creating a virtual world is an integrated system of many different interconnected components.
The main components of a virtual reality system include the system hardware, the supporting
software that links the display and input hardware together, the virtual world content that the
user will interact with, and finally, the User interface design suitable for users (Alan B. Craig
et al., June 2, 2009).
Typical VR System

Tracking
system
Graphic Visual display
computation

Audio Audio
computation display
Simulation
computation
Input Haptic Haptic
devices computation display

Fig. 28 This diagram illustrates how the various components are integrated in a typical VR
system. Author's own.

4. 3. 1 Hardware
Hardware is classified as display devices, consciously activated user input devices, and user
monitoring input devices along with the computer that supports the modeling and rendering of
the virtual world.
4. 3. 1. 1 Computer/graphic engines
Practical VR experiences require real-time interaction, so the computer system has specific
requirements. Computational systems are usually performed on a single mainframe that fulfills
all requirements or can be performed on multiple computers. The machines need to connect
through a high-speed network for low latency when using multiple computers. In any VR
system, the delay or time delay between an event happening and the time its result appears is

58
the critical factor. Any delay that occurs in the system reduces the overall computational
efficiency of the system (Alan B. Craig et al., June 2, 2009).
The computer system needs to meet the need to be powerful enough to perform calculations
that simulate the physical world of the virtual world and to have enough performance to render
graphics from the computational components of the graphics engine, the media that generates
the sound, and the output display other senses, for example, as tactile information when
touching an image.
Graphics engines must quickly render charts sync display updates between multiple monitors
for binaural, multi-monitor, or possibly multi-projector transmission. No synchronization
between monitors will result in the image appearing discontinuously between two neighboring
screens.
In addition, active sound positioning aggressiveness can be sent to the external handlebar is
also a requirement for modern computer systems. A system VR needs to be able to perform
multiple impacts simultaneously, multi-threading through the use of multiple computers at the
same time also meets this need.
Many of the significant VR projects in the 1990s used buggy computers with multiple CPUs
and multiple hardware versions with high rendering capabilities. With the change of the 3D
graphics acceleration engine, it is possible to use personal computers to implement VR systems
with complex contrasts (Alan B. Craig et al., June 2, 2009). However, the cost of a complete
VR system is still very high compared to that of a typical computer system.
4. 3. 1. 2 Visual displays
The visual system is the primary means of communication for most people. On the virtual
reality system, the part that displays the virtual reality image is the part that has the most
influence on the viewer and the experience. There are different visualization models, i.e., fixed,
hand-based, head-based. Each has different advantages and disadvantages depending on the
advancement of technology and monetary resources. In general, the goal of any virtual reality
system is to replicate the feeling of physical reality, so stereoscopic displays are often used to
create a sense of reality for the viewer.

Fig. 29 The images displayed on the computer screen are the interactive visual
images of the user through the VR headset

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First, it has to be a sizeable static screen such as a CAVE, wall monitor, or desktop monitor to
fill the large portion of the field-of-view (FOV) for one or more people to experience. The
static capacity and high FOV coverage make the user-controllable between the virtual world
and the natural world for this type of monitor. However, this visual display system has the
disadvantage that it is difficult to cover the natural world in some cases. Depending on the
number of people covered, the number of projectors and screens may vary. This screen means
more rendering systems are needed. Although there have been many improvements to CAVE's
screen space, the cube surrounds the viewer with screens. The projection will have to be
continuous from the top-down and the screen from the bottom up. The system requires a
considerable cost and challenge in assembly, transportation, operation, and maintenance.
The most common type of display in film and television are head-based displays (HBDs).
Historically, it was called helmet-mounted displays (HMD) because it was mounted on a
fighter pilot's helmet. Monitors often come with headphones and are mounted right in front of
the wearer's eyes, which are pretty heavy. Later versions of the improved HBD are lighter in
weight and have a significantly smaller screen than the original. The screen becomes like
essential sunglasses that create a sense of closeness for the user. The remarkable feature of this
type of screen allows viewers to freely turn around and navigate in the virtual world and has
been dubbed a 100% field-of-regard related field. This display requires less space, is easy to
move, convenient, and costs significantly less than fixed screens.
Conversely, precisely because of the flexibility of the display of HMDs also makes any lag on
the system more noticeable to the user. As a result, users are prone to feeling dizzy, headache,
and nausea. In addition, despite the significant weight reduction, the pressure of the screen on
the head attached to the cable to transmit video is also a drawback of this screen. This screen
also limits the number of users at a time; the contact environment is narrower and isolates the
user from the surrounding environment, making it difficult to discuss during the experience.
The screen size has shrunk to fit a head-worn solution, so the resolution is much lower than a
fixed static screen.
The desktop VR monitor features a standard computer monitor enhanced with stereoscopic
visualization. It is similar to a giant screen and static display. They combine VR software, input
devices, necessary tracking devices, and a computer screen, the scene displayed on the screen
feels like a fish swimming in an aquarium. If viewers move their heads in different directions,
they can see images from different perspectives in the virtual world. The cost for this system
is negligible and can be used right at the user's desk.
With the development of technology, computer hardware has reached the level of developing
VR systems on laptops, although not many laptops have stereoscopic screens. The most
significant disadvantages are that the size of the desktop screen limits the user's field of contact,
the cost of software upgrades, stereoscopic displays, and tracking devices are also higher than
those of conventional devices be different.
4. 3. 1. 3 Haptic display

Tactile display refers to the touch of the human body. Touch is a complex term that manifests
not only through the "tactile" (input through the skin) but also through the "proprioceptive"

60
musculoskeletal system. For example, feeling the roughness of a wooden surface or feeling the
weight of an object is related to touch.
Most devices designed for tactile displays focus on tactile presentation and user experience.
Depending on the technology, it can create force or create a light feeling on the skin.
The tactile displays are divided into "world-grounded" (stationary) versus "self-grounded"
(body-based) displays.
A "world-grounded" display can be attached to the space ceiling or glued somewhere to some
real-world object. The user grasping an object can feel the surface and weight of the object
when the user wants to move the object, thanks to the many links that lead them to feel the
friction and the weight of the object. Alternatively, when an object moves, the tactile screen
creates an impact force that the user can feel when they touch it.
For the "self-grounded" display, the user will be wearing a glove-like device equipped with a
small vibrator for tactile visualization. The "self-grounded" display is as effective as a
grounded display, allowing the user to feel the touch of the skin and the object's shape thanks
to the mount-mounted device.
4. 3. 1. 4 Input devices and user tracking
The virtual reality system has two types of input "cognitive input" (specific user-triggered
events) and "user monitoring" (tracking the user's body movements). In other words, the duo
acts as an active input that uses a passively inspired receiver for attributes like the user's
location. The shape of the system host computer to create a will not be matchable if there is no
input.
The sensor location is the device used to track the user's usage, and it holds the most critical
position in any VR system. Standard sensors include optical, mechanical, electromagnetic,
ultrasonic, inertial/gyroscope, and neurological/muscular devices. The best position variable is
to verify the word limit for the system.

Fig. 30 Hand movement in VR environment

4. 3. 2 Software
4. 3. 2. 1 Laws odd nature simultation code
Many types of VR experiences have some programming that governs behavior and interactions
with objects according to the laws of nature. The user cannot act on the object in this context
but only works around the simulated environment. The user may have global behaviors on

61
specific objects subject to more advanced simulations. Some other simulation apps try to
simulate the real world as best they can by following math and physics formulas from real life.
4. 3. 2. 2 Rendering libraries
The rendering library is a collection of rendering algorithms suitable for depicting any
meaning. The libraries of rendering visualizations are developed for the visual element and
auditory and tactile applications. Users will experience what transforms the world's internal
computer database from rendering libraries.
This library has features that represent the basic features of the scene and other multi-screen
functions. This library can also support advanced graphical functions such as collision
detection or object description hierarchy.
4. 3. 2. 3 VR libraries
The task of the VR library is to collect the necessary information about the user display the
outputs appropriate to the user's current location and actions. The library also has to perform
simulation and rendering capabilities, analyzing input data at high speed to make the simulated
VR world look lifelike and respond to participants' actions quickly. It shows that the VR library
needs to be able to execute multiple tools simultaneously to achieve fast and accurate real-time
feedback.
4. 3. 2. 4 Ancillary software
During the presentation of the experience, in addition to the required software, it is necessary
to use much different software to create a convincing and realistic virtual reality experience. In
such cases, the audio editing software needed to build the audio tracks will be heard in the
experience. The image processing software helps create a sensible texture map. The operator
will control experience parameters through the user interface libraries associated with the VR
experience.
4. 3. 3 User interation
Unlike the traditional computer systems known previously virtual reality (VR) presents an
unprecedented mode of interaction between humans and the virtual world. One drawback of
this new mode of interaction is that there will be no established set of traditional
communication languages and must be borrowed from a two-way user interface. In spite of
this, when using borrowed models, taking advantage of these languages designed for traditional
2D environments for use in 3D virtual environments is a challenge.
• Interaction methods:
One form of interaction in a real-life environment is to mimic the actions in physical
environment entities. For example, to move any object, the user moves their hand to the object,
selects the object by closing their fingers, moves their hand to change its position. This form is
live interaction that simulates by tracking the position of hands and fingers.
Other forms of computer interaction with which we are familiar are human, virtual, and
physical interactions. We usually physically interact with the computer mouse and keyboard

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in a conventional computer system. In virtual reality systems, they are replaced by the steering
wheel, gloves, a handheld wand attached to the input devices to the system.
Another common form of interaction in VR systems is virtual input interaction. The virtual
buttons are displayed directly in the VR environment, which can be activated by the user based
on physical interaction or virtual contact with the virtual button.
The final form of interaction is the presentation of control parameters through an agent.
Communicating with an agent makes it possible to know the user is desired command or action
for the system.
• Targeting object
A simple way to make choices in the virtual world is to choose a direction or choose an object.
Making quotient choices is using human body parts such as eyes, fingers, and turning head.
Through the voice software pre-installed in the system's menu memory, the user can also
choose by pointing to the desired object or referring to the object's name.
• Operating the virtual reality
After selecting an item, the user usually takes some action on that item. When manipulating
experiences, there are two ways to act on objects: by mimicking the effect of forces on them
or by changing the properties of objects in virtual reality or supernatural modification.
For example, a house in the virtual world can be changed from white to blue by painting a
virtual color on the house through imitation of the real thing. In addition, it can be changed to
another color through menu colors (supernatural modification).
• Navigations
Navigation is a familiar technique used in everyday life or the media, the network, and the
internet in the real world. Navigation often describes how we move from one location to
another, for example, when we walk, run, drive, fly, skate, snowboard, or paddle in a virtual
reality world. The navigation terminology in VR splits into two subsections: travel and route
finding. Using information about the VR world to give direction and control movement speed
is navigation. Travel navigation controls the movement of an object in the VR world, such as
jogging or driving a car.

Fig. 31 The user interacts with the VR environment like a driver in a car

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4. 4. Explaination of the effort developing of VR environment
Presently, Virtual Museum applications adjust from entire cave systems to partial multimedia
presentations. VR systems bring a compelling sensory and affective experience that is certainly
afforded by fully immersive might be the most effective system in an exhibition at the museum.
The number of installations worldwide is limited because these systems use cutting-edge
technology at an extremely high cost (G. Lepouras, A. Katifori, C. Vassilakis & D. Charitos ,
2004).
Changing from a classic model of an exhibition to create a VE may provide an enriching,
intense, and entertaining presentation of assured exhibits to visitors. Furthermore, these
previous examples of VR exhibitions in museums show several other reasons that may explain
the exertion of improving such a system:
- Deficiency of space: Most museums display a small percentage of the exhibits they
own since presentation space is frequently limited. Depending on the shape, size, and
material of objects may be too breakable, cumbersome, or of high value to be exhibited.
In this case, the stored objects can be successfully displayed by VR presentation within
the environmental context of the real circumstance museum (G. Lepouras, A. Katifori,
C. Vassilakis & D. Charitos , 2004).
- Simulation of the exhibition environment: Visitor possibilities view a simulation of
vital objects, species, architectures, or environments by a VE system offering. These
environments may either:
• No extended exist today
• be damaged and in the requirement of reconstruction renovation
• not be able to experience because they exist in a served weather condition or their
conditions do not allow for their interior to travel through.
- Performance in an unsafe or isolated environment: Images within an ancient warrior,
dinosaur, or on the mountains of Jupiter, which may be too complicated or too unsafe
to physically visit. A VE system is the most guaranteed way of visiting this kind of
environment.
- Ambulatory exhibition: A mobile VE system, which is a method where the digitized
content of a museum is experienced in a practical manner, can be easily carried to any
exhibition site or remote location. A wider audience may view significant exhibitions
without the requisite of far-removed.
4.5 Suggestion for Visual Reality (VR), application of an art exhibition in
the art museum in Vietnam
Museums steadily embrace displays and support initiatives that prioritize human experience
and collaboration (Abercrombie & Longhurst, 1998; Stylianou-Lambert, 2010). While
conventional museological types consider tourists as inactive information users, the current
museology strives to increase citizens' proactive participation via digital technology and
customized personal interaction. It is suggested that this is more culturally integrated and

64
encourages personal and interpersonal change (Stylianou-Lambert, 2010). O'Connor (2010)
argues that Digital technology's growth will introduce innovative ways of involvement and
participation in the artistic field and encompass multiple influences and management
approaches. Study results of experiences with culture and art facilitated by new technology, for
example, find that those interested in museums and virtual art are equivalent or similar to
people who attend and associate more frequently (e.g., Dean, Donnellan, & Pratt, 2010;
Holdgaard, 2012).
The cultural objects displayed in a museum's physical surroundings are commonly seen in the
display where minimal information is accessible. Museum items could be scanned and
interpreted in an enjoyable digital environment at simulated museum exhibitions. A simulated
museum might include specifics that traditional exhibits cannot present in a museum display.
Thus, museum curators are granted a more satisfying experience due to a deep understanding
of artifacts through the interactive context instead of the ones sealed in a display cabinet with
a necessary explanation on a label. In such immersive experiences, consumers can interactively
and flexibly navigate galleries. Digital museum exhibits offer virtual guests the opportunity to
examine and interact with an item from all dimensions. Digital visitors will navigate
themselves; they identify where the displays are located in the digital arena. The artifacts
themselves will express their value when explored in combination with other area objects and
with a narration that ties the artifacts to their history and helps bring to reality the possible
cohesiveness of artifacts and their stories (see also Soren, 2004).
As described above, the number of young audiences attending at the art museum is decreasing
since they can not pursue their specific motivation, tackling the issues of the Vietnamese Art
Museum in general and the HCMCMFA in specific. The following levels of info about the
artifacts are presenting, as well as the museum's current approach to youth is indeed not exactly
ideal. The VR approach will enable the HCMCMFA to handle the situation. Virtual museum-
focused groups are museum curators and end-users. In the second group, three subcategories
may be divided: experts, academics, and visitors (Bowen et al., 2004). Digital museum exhibits
will provide a significant volume and level of experience, intended to expand insights, operate
efficiently, and cultivate a broader understanding of each of the previously mentioned
demographics of cyber guests. They might satisfy the demand for the essential and
differentiated knowledge of ordinary tourists and need no additional support to decode the
meanings and ideas within museum objects (Paternò & Mancini, 2000; Hooper-Greenhill,
1992).
Digital museums are often capable of presenting in-depth appropriated knowledge for different
groups of visitors, thus bringing attention to not just one but several museums and art galleries,
to various investigations, including the descriptive analysis criteria of experts and students. In
comparison, artistic galleries can attract audiences who are rarely accessing museums or
exhibitions and have no relevant familiarity or interest in the exhibition's subjects (Economou,
1998). Guests at digital art museums are offered chances to improve vital skills. A virtual
museum will allow visitors to discover, practice individuality, and be prominent users,
constructing their virtual tours and directions. Besides, interactive platforms can be used as
intelligent systems that enable virtual tourists to surpass human experience limitations such as

65
memory or decision- making weaknesses and achieve their expertise (Pea, 1985). A typical
indication of this would be virtual museum tourists' potential to construct an individual
multimedia showcase of digital artifacts, a display that suits their expectations and can
exchange it with others. More educational opportunities arise in a simulated museum setting
than in a traditional museum (Davallon, 1998; Mokre, 1998). Many digital museums have been
constructed to reflect the functionalist concepts of educating by construction and
experimentation, including engagement, experiencing, and learning together (Hein, 1991; Falk,
2000). In a simulated museum world, guests are not spectators but engage with learning
artifacts and create information themselves. Moreover, interactive platforms are used as
cognitive technology that enables simulated tourists to overcome human mind limitations such
as memory or problem-solving limitations and create their expertise (Pea, 1985).
The restoration process we summarized in Project work flow will be followed over the two-
year project period. This process consists of three main steps: Planning, Modeling and
Programming. In the planning section, we will conduct research and select a concept story for
the VR movie. We also conduct a selection of the most iconic and iconic paintings of Dong Ho
folk painting. Then we will conceptualize the scenario and story setting. At the same time, we
also created the story board for this period and corrected many times to complete the script. In
the Modeling section, we will continue to refine once more but more specifically the characters
in the selected paintings. We use popular modeling and animation programs such as 3DMaya,
3DsMax, to reconstruct the character modelling story background. Texture mapping will use
larger software such as 3DMaya, Blender, Unity to render 3D spatial scenes and can be used
in VR. We also check, test, and fix errors in rendering and rendering. The Programming section
links modelling environments and contexts to the same video. In this section, stages such as
adding subtitles, annotations, sound, and animations are also edited and edited to be included
in the final movie.

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5. DESIGN PROCESS
QUANTITATIVE SURVEY RESULTS
5.1 VR videoclip design process

Designing and restoring Dong Ho folk paintings to include in a virtual reality video is not an
effortless process. The author collaborated with a professional studio to discuss, edit and give
the final result of a VR video called Walk into Dong Ho Painting. The two-minute video was
made over five months (not including prep and concept), and the making of the film is
described in the process summarized below.

RESEARCH Idea collection Dong Ho paintings Filter paintings

CHARACTERS

Filter characters
Concept Script of story

Sketch characters
Revision

MODELS Modeling 3d Maya

3dsMax
Museum walkthrough

Texture mapping 3d Maya 3dsMax

Scenario inside
painting
UE4 Archviz Corona
Characters Archviz
Animation
Environment Revision softwares

PROGRAME Programming Editing

Revision
Test program
Control system
Rendering

Info paintings

Final video
Sound, voice effect

Fig. 32 Workflow for the development of the VR video – A: PLAN (top), B: MODELLING (center)
and C: PROGRAMMING (bottom). Author's own.

5.1.1 Research characters, history, context

5.1.1.1. Recap the survey before design and select characters
Front of choosing paintings and characters to recreate in virtual reality, the author did a survey
with Vietnamese people about their understanding and aspirations for Dong Ho folk paintings.
The survey includes 21 questions (4 questions about personal history, 17 questions about Dong
Ho folk paintings and museums in Vietnam). The survey was opened for seven days from

67
September 10-17, 2021, with 163 participants, aged 15-65 years old, across all provinces in
Vietnam.

Fig. 33 The survey Vietnamese for the favorite painting which they want to see in a
virtual reality environment

The survey shows that 42% of the survey participants are from Ho Chi Minh City. The
remaining 58% of the survey participants are from Hanoi, Nha Trang, Hue, Da Nang, Da Lat,
and some Western provinces of Vietnam or currently residing abroad. The age of survey
participants from 15-20 years old accounted for 62.3%, 23.9% aged from 21-30, 8.6% of
people aged 31-40 years old, the number of people aged 41-50 years accounted for 1.8%, and
the remaining 2.5% are 51-60 years old. The proportion of women accounted for 69.9%, and
men accounted for 30.1%.
Through the question of knowledge about Vietnamese folk paintings, more than 98.2% of the
survey respondents knew about Dong Ho folk paintings, and only 0.6% of people had never
heard of them. Vietnamese folk. However, understanding the basic knowledge of paintings
does not give positive results; some famous paintings are not well known. Materials, methods
of painting, and origin of Dong Ho folk paintings are also not well understood through survey
data. 35.8% of people know about the characteristics of paintings are woodcarving and hand-
painted. Up to 52.5% of people who know Dong Ho folk paintings were ranked on the national
intangible cultural heritage list in 2013.

Fig. 34 Survey on the number of times Vietnamese people attend the Dong Ho folk
painting exhibition (Left chart)
The survey Vietnamese for understand how much popular of folk painting in
Vietnam (Right chart)

Regarding visiting museums, the survey also showed that they rarely went to museums before
the covid epidemic. 47.2% of survey respondents have never visited a museum or art gallery,

68
and 44.2% of people indicate that they visit a museum or gallery 2-3 times a year. Most think
that art museums in Vietnam lack publicity, are boring and outdated, do not interact much with
the audience, and do not create interest in the museum. They also expressed their expectation
that the museum will be designed with a well-organized, interactive art space through visual
and sound effects, more exciting museum displays, and more vivid knowledge of artwork.
Regarding VR technology, 65.4% of survey respondents have heard of this technology, while
28.4% have never heard of it. Only 5.6% have ever participated and experienced VR
technology. It is understandable that up to 92.6% of survey respondents feel curious and want
to participate in an art exhibition applying virtual reality technology. 93.3% want to see Dong
Ho folk paintings displayed in 3D in VR.
Finally, the survey results showed that the two paintings that achieved the highest number of
voters wishing to see the exhibition in 3d virtual reality were The Mouse Wedding (80.2%)
and the Beautiful Woman painting(61.7%).
Based on this survey, the author has selected to research and adapt two paintings of The Mouse
Wedding and the Beautiful Woman painting of a palace made from the 2D format,
woodcarving, and hand-carving into 3D virtual reality format. These two paintings will also
appear in the actual video of the Dong Ho folk painting exhibition that the project is
researching.
5.1.1.2. Research paintings

Fig. 35 The Mouse Wedding, Paintings satirical Line, Dong Ho Folk painting, sample of
artisan Dang Khien Nguyen. Size 26x37cm
• The Mouse Wedding painting
The lineup in the picture consists of two rows:
In the upper row, four rats are approaching the front of the cat. The old rat took the lead, brought
out the dove with both hands, but was afraid of shrinking its neck, tail, and cowering. Although
his head was raised higher, the second old rat still bent his back, or his hands were shaking, his
claws were clumsy as if he was afraid of dropping the offering of carp, which the cat loved so
much. The third mouse is the old mouse playing the trumpet, still glancing at the old cat's
attitude. The third rat is a young mouse who plays a deep horn, stooped, and stooped. On the
heads of the mice, there are Chinese characters from left to right: Protecting body (keeping
body), Lao Tieu (old mouse), and Composing music (playing the trumpet). Hold the first mouse
and the old cat with the word Tong Le (give the offering). On the right corner of the picture,

69
the old cat's head is the word Mieu (cat) to help viewers know more about the family of the
mouse, bringing tribute to the old cat.
In the right corner of the picture is a giant cat, enormous (personification and exaggeration of
the proportions of the body more considerable than the horse in the lower row), sitting half-
heartedly, one leg extended as if preparing to receive a gift ceremony. The old cat shows with
stripes on the face and the back contours. The legs highlight the cruelty with a pretense of
benevolence.
The bottom row is the wedding scene with eight rats. Leading the way is a male rat, wearing a
hat with a dragonfly on his head, wearing a green robe, wearing shoes on his feet, sitting on
the back of a pink horse. The rat is facing back; his face is arrogant and smug because he just
got his doctorate and married a beautiful wife. Next to it is written the Chinese character "Giai
te." Behind the maid was a black rat holding a parasol and a half-black, half-white rat with a
sign "Nghinh hon." The mouse holding the parasol looked dignified. The one holding the sign
naughty turned back to look at the bride's candy. The remaining four rats carried the palanquin.
The two in front of them looked straight ahead and profound. The two behind looked back,
either intentionally showing us that the procession might continue or watching for fear of the
cat chasing us from behind (Nguyen T. Thu et al., 2019).
The bride sitting in the palanquin also wears a scarf wears a blue brocade shirt, looks at her
husband riding a horse ahead, proud and satisfied.
Meaning of the picture: With a history of about 500 years, the painting Mouse
Wedding has humorous and profoundly satirical content.
The picture is funny in that how can there be a mouse to pick up the bride and get
married? The folk artist breathes the soul into the picture and anthropomorphizes
the mouse so that they have a human appearance and know how to get married.
The irony is that the other rat groom who wants to receive the bride has to bring
birds and fish to feed the cat (Minh, Tranh Đám cưới chuột - tác phẩm nghệ thuật
nóng hổi tính thời sự, 2020).
The cat in the picture represents the ruling and exploiting class in ancient society.
The mouse is a metaphor for the industrious, honest, and simple farmer. The picture
has no captions. Nevertheless, anyone who sees it also recognizes the subtle
metaphor of the folk craftsman. Rats are inherently sly, mischievous, suspicious,
constantly wary of cats - sworn enemies, and witty satirize cats greedy for bribes.
Therefore, the painting Mouse Wedding was born to satirize and deeply lash out at
the unjust, antiquated, corrupt feudal system that always oppresses gentle farmers.

Fig. 36 Beautiful Woman, Decoration Line, Dong Ho Folk Painting, Sample of artisan
Dang Che Nguyen. Size 37x52cm.

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• Beautiful Woman painting
The picture of four beautiful women is composed of four paintings with images of four
beautiful girls showing their forte. Next to four vases represent the four seasons of Spring,
Summer, Autumn, and Winter. This painting belongs to the line of traditional Dong Ho folk
paintings, which are engraved with woodblocks with the traditional folk painting method. The
picture has a simple black and white colors forming a very popular Dong Ho quartet.
The phrase: "To nu" here means "beautiful girl" who is beautiful in the soul and beautiful in
talent (Nguyen T. Thu et al., 2019). Usually, the Four Precious Elements paintings show four
virtues of a talented ancient woman: holding, examination, examination, and painting (that is,
good at playing the lute, good at playing chess, knowing how to write poetry, and know-how
to draw). The four beautiful girls all play musical instruments in the quartet of ladies of the
Dong Ho painting series. That is the unique point of this Dong Ho's Four Quarters paintings
collection.
Meaning of the picture: The meaning of Dong Ho folk painting four quarters of the
female element not only shows the four seasons of the year. It also shows the beauty
and talent of Vietnamese women who are gentle and have a talent for singing.
The four female elements are in harmony. The girls are not all the same height: She
plays the highest fiddle, then plays the flute lower, and holds the flute a little lower.
Moreover, she holds the fan. Of these four props, the sound of the lute gives the
highest timbre, then the flute, the second click of the "senh," which is an ancient
percussion, and the lightest is the sound of the fan. The critical point of the art is
that borrowing forms show the meaning inside. Artists have taken the numerical
height to express the high and low levels of the sound to praise the sonic beauty of
the props. Beautiful Woman painting is a surreal picture; the beauty is not in the
person's description. The idea of the artist who made the quartet of female feminist
paintings lies in that profound point (Tam, 2021).

5.1.1.3. Research history custome, sketch characters

• Mandarin costumes of the Le period
Under the Le So dynasty, the costumes for mandarins had different regulations and names
compared to the Ly - Tran dynasties.
a) Court uniforms: Unlike the Ly Tran and Le So dynasties, on the days of worshiping
and enthronement of the king, Thanh Tiet, Te To, Te Thai Mieu, and the first day of
the Lunar New Year, the costumes worn by the kings and mandarins are called Dai
costumes. The king wore the crown during the dynasty, but the mandarins wore the
imperial dress.
b) Gongfu: This is the dress worn to the court of the mandarins on the 1st and full moon
days of every month
c) Casual clothes: The mandarins wore these clothes on the court's typical day every
month and wore them at the office.
• Short-legged delivery for commoner

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The short, long skirt is not over the upper body, tylically used for women. In Vietnam during
the Le Dynasty, the short-legged commissar was regularly tied outside, similar to the previous
periods of China, and had similarities with the Japanese hakama bandwagon.
Nonetheless, the short strapless short-sleeve dress of the Le dynasty can be distinguished from
the regular strapless short-striped belt of the dynasties in China in that the outer dress is shorter
than the inner one (or skirt), revealing two layers of skirts. Meanwhile, in China (as well as
Japan and Korea), the outer dress is long enough to reach the ground, covering the inner dress
(or skirt).

Fig. 37 Mandarin customers and short-legged delivery for the commoner of Le Dynasty

Fig. 38 Concept of customers Le Dynasty for commoner and courting year 1500 in The
Mouse Wedding painting

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 Fig. 39 Concept of the old cat in The Mouse Wedding painting
5.1.1.4. Context of virtual reality environment

Fig. 40 Exterior and in the courtyard of the communal house of Ho village

The communal house of Ho Dia village is located in Song Ho commune, Thuan Thanh district,
North province. The communal house was built when the village was first established,
nevertheless mediocrity remembers the exact size of the structure. In 1635 the communal house
was rebuilt with bamboo and leaf paintings. In 1907, it was embellished and completed in 1911,
with the wooden architecture, the hand beam, the bamboo rafters, and the thatched roof. The
communal house of Ho village was built on a large and tall land in the center of the old Ho
village (now Hong Ky village); anyone who comes here will receive a peaceful feeling in the
village. Near the communal house, an ancient tree is hundreds of years old. Through many
historical changes, this tree is still standing full of life.
In 1927, the communal house was embellished for the second time and completed in 1937. The
roof was made of bamboo, the thatched roof of bamboo and thatched leaves was replaced with
wood, and the roof was roofed with tile nose. The communal house has the same structure as
other communal houses, including the communal house gate, the communal yard, and the
tremendous communal house. On the other hand, only the communal house yard and the
tremendous communal house remain on the monument site.
In the communal house of Ho village, the architectural shape of the wooden frame and the
decoration of the lines (edges), floating and sinking on architectural elements such as
hitchhiking, first sentence, passer, trapezoid, beam, have been made for the interior of the
building to become soft and flexible. The motifs are also expressed and decorated elaborately
and meticulously on different parts of the architecture. The chrysanthemum leaves are carved
in an oversized shape, with enough leaves, veins, and serrated edges with fern leaves.

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5.1.1.5. Script of virtual reality(VR) story
Name of the VR video clip: WALK INTO DONG HO PAINTING (WIDHP)
Scene 1: The clip title appears: Walk into Dong Ho Painting. Background: The main hall of
the museum fades to clarity.
Scene 2: The space scene from the main entrance to the museum is slowly introduced into the
lobby space. Then slide the camera to the space with Dong Ho Painting Exhibition posters.
Scene 3:
• Continue to slide the camera to the interior exhibition space.
• Get close to the Mouse Wedding.
• Click effect.
• Transition the scene feels like the viewer jumps into the picture.
Scene 4: The scene inside the painting, from above, looks down at Dong Ho village's
communal house. The camera moved lower and lower to Dong Ho communal house entrance
and then moved inside the communal house yard.
Scene 5: The camera scans through the group of rats with the groom sitting on a horse, then
the bride and her entourage next to them, making offerings to the cat. (Viewers can rotate 360
degrees while the camera moves.) Background 360: Dong Ho village communal house
Scene 6: The screen jumps out of the picture and back into the museum space, scrolling through
a few artifacts for 3-5 seconds to the following picture, Beautiful Woman painting. The effect
of clicking on the picture and the viewer is like being brought inside the picture.
Scene 7: In the scene inside the communal house yard of Dong Ho village, the camera can
scroll from the front to the specific girl from left to right (girl number one to number four).
(Viewers can rotate 360 degrees while the camera moves.)
Scene 8: Effect scene out of the picture. A viewer can spend 5-10 seconds describing the
museum space and traditional exhibits related to Dong Ho paintings. The scene then fades out
and gently ends the clip.
5.1.1.6 Poster of the exhibition
The exhibition carries the spirit of a modern, simple, and highly artistic space. The main
character of the exhibition is the display of Dong Ho folk paintings and artifacts of the same
style and historical period. The poster is designed from a mood board using a serif font but not
too rigid, with a bit of modernity because the exhibition uses virtual reality technology. The
color tones used include typical colors from Dong Ho folk paintings, such as blue, yellow-
orange, and crimson. The poster's background is inspired by the image of the Mouse Wedding
painting to keep the spirit of traditional folk painting. The poster is A0 841x1188mm in size
and is hung near the lobby with the reception desk, so viewers can look at the poster before
entering the exhibition inside.

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 Figure. 41 Moodboard of the exhibition poster and the final poster of WIDHP exhibition

5.2. Models system

5.2.1. Museum sample modeling
• Project information
Thang Long Cement Factory is one of two factories along Cua Luc Bay, built-in 1987
according to the government's industrialization policy at that time. Inspite of the trend of
sustainable urban development, factory activities are causing higher levels of urban landscape
pollution than allowed. Realizing that, Quang Ninh province decided to force stop and relocate
the factory until 2025. Instead of demolishing the post-relocation concrete structure, the
architect took advantage of the solid shell and renovated it into a space that can be used for
many types of works.
• Location: Thang Long Cement Factory is located in the relocation policy in Ha Long
city, Quang Ninh province.
• Scale: improved land area 2.2 ha.
• Natural condition:
The southwest borders the residential area and the Ha Long seafood hill villa project.
North - Northeast borders Cua Luc bay.
The south - southeast are hills and Ha Long tourist area.
• Design story
Cultural and artistic values are the two main factors that convey design emotions to work.
Between the pace of modern life and the artistic breath, a Contemporary Flow is formed,
expressed in various forms of expression from pictures, compositions, installation art.
Performance flow carries meaning throughout, continues the culture, and leads contemporary
art closer to the public. The TNEMEC architectural complex is considered a great work of art,
surrounded by other works of art. These works take mineral resources, cultural, and
archaeological deposits as materials for artistic creation. The light and color of the materials
are the main languages that guide the emotions and form the passage in the correct sequence
that the author places to enter the space.
• Materials, colors, light set up

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 The materials used in the design are minimalistic, providing the background for the exhibition
space and creating flexibility for the author's decoration purposes. Therefore, the wall, ceiling,
and floor systems create a seamlessness in the materials that bring the connection in the same
space. Lighting design and layout is an effective solution to honor the value of the exhibition
products and clearly show the objects on display. In addition to natural light from skylights and
large glass frames, artificial light is the key light source to balance, guide, and create accents
throughout the space. The value of preserving the heritage of the silos and mills will be
expressed in the spirit of preserving the ontological roots through the original raw elements,
from the traces of oxidation bearing the bold moss of the time. Materials such as concrete,
industrial iron, and steel. The originality of geology and minerals inspires colors. Earth tones
become the primary color, accented with colors from materials used in the exhibition such as
coal, glass, sand, crystal, and underground archaeological remains.
• Museum lobby area:
- Advantages: High and wide ceiling space, significant column steps, creating open and
airy space
- Disadvantages: Many windows catch the harsh sun from the west. Architectural
language and interior are unbalanced.
- Renovation solution: Breaking down the partition between the two spaces creates an
open space, helping the light be distributed evenly while saving the amount of Western
sunlight for the lobby area and bringing natural light to the exhibition space.

Fig. 42 Process of drawing the exhibition space (TES)

Process A(PA): Create 3D TES from 2D drawing by using 3DMax software
Process B(PB): Map the texture, material, color for TES and set up objects by using
3DMax software.
Process C(PC): Set the overall lighting, and the light emphasizes the paintings for TES.
Grid processing optimizes all maps to fit into VR.

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5.2.2 Dong Ho painting modelings
• Dong Ho temple context: Dong Ho village communal house

Fig. 43 Process of drawing Dong Ho village communal house (DHVCH) modelings

PA Create 3D DHVCH from 2D drawing by 3Dmax and Blender

PB Map the texture, material, color for DHVCH and set up objects by using Blender
PC Apply 2D materials to 3D using the reverse map technique in 3dmax
Grid processing optimizes all maps to fit into VR

Fig. 44 Views from top position of The Mouse Wedding (2 fig left) and Beautiful
Woman (2 fig right) set in the courtyard of DHVCH

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 • Mouse wedding characters

Fig. 45 Process of drawing The Wedding Mouse painting modellings

PA Create 3D DHVCH from 2D drawing by 3dmax

PB Map the texture, material, color for DHVCH and set up objects by using
Blender
PC Apply 2D materials to 3D using the reverse map technique in 3dmax

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 • Beautiful woman characters

Fig. 46 Process of drawing Beautiful woman painting modellings

PA Create 3D four woman from 2D drawing by 3Dmax software

PB Combine four modellings and set up in the scenario of DHVCH
PC Apply 2D materials to 3D using the reverse map technique in 3dmax

Fig. 47 Some views of Dong ho village communal house modellings with

two paintings set up

PA The Wedding Mouse modelings set up in the scenario of DHVCH

PB Beauty Woman modelings set up in the scenario of DHVCH with viewers

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PROCESS
DETAILS TIMELINE
A. SOFTWARE

• Museum rendering, painting: 3ds max, Maya, Blender

• Bring it all into VR: Unity
• Filming: OBS
• Movie editing: Adobe After Effects
B. TEXTURE, MATERIAL

• Draw 2D materials of female paintings, mouse wedding paintings,

Dong Ho village hall with Clip Studio Paint software.
• Process images of materials in exhibitions using Photoshop October, 2021
software. to February
• Apply 2D materials to 3D using the reverse map technique in Maya. 2022
• Grid processing optimizes all maps to fit into VR.

• Lay the floor flat so the character does not fall out of the scene.
• Include all 3D-drawn products.
• Create one wall and floor to place two pictures on.
• Set the overall lighting for the museum, and the light emphasizes
the paintings.
• Place pre-processed materials to all 3D products.
• Set the scene outside the museum.
C. VR PROCESS

• Set the character drop point so that the character has a place in the
museum, not free-falling (all characters, when falling into the January to
museum, will be at the same drop point to not fall from the scene). March
• Assign poster available. 2022
• Assign pictures and describe pictures.
• Technical processing click on the picture so that the picture frame
appears with the picture and the information.
• Technical processing to change the scene from museum to Dong
Ho painting.
• Technical processing to press back, the museum returns to its
original state.

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 D. CAMERA SET UP
• All video recording data is in VR chat software.
• Characters will be dropped when participating in the scene.
• The character will move and use his perspective as a camera to
record the entire image in the VR scene. March 2022
• Edit video with After Effect software (insert audio, cut and edit
necessary parts in the clip).
• Convert clip format to conform to Youtube's 1080 standard.

Table 2 Recap programe, VR process, camera set up. Author's own.

5.3 Quantitative survey results

5.3.1 Measurement model verification

Google Forms could be a survey administration software included as a part of the free, web-
based Google Docs Editors suite offered by Google. The service includes Google Docs, Google
Sheets, Google Slides, Google Drawings, Google Sites, and Google Keep. Google Forms is
simply available as an internet application. The app allows users to make and edit surveys
online while collaborating with other users in real-time. The collected information will
be instinctively entered into a spreadsheet.
This study uses all survey data on Google form for convenience, security, and accessibility to
all survey participants. The survey on Google Form can set the time limit for answering
questions, giving accurate and immediate results. The way of synthesizing the answers and
giving a statistical table, the percentage is highly accurate and precise.
5.3.2 Quantitative survey results
In this study, the author conducted two surveys to get the results.
The first survey (1stS) with 163 participants (including Vietnamese and foreigners) was
conducted from March 15 to March 30. This survey aims to measure the understanding of
Vietnamese folk paintings, Dong Ho folk paintings, and the younger generation's taste in folk
painting exhibitions. This survey was mentioned in the character research and survey section
(5.1.1).
The 2nd survey (2ndS) with 120 participants (Vietnamese only) was conducted from April 1 to
April 10. After submitting the link to the VR chat exhibit Walk into Dong Ho painting
(WIDHP), this survey was conducted for online viewers. The exhibition aims to measure the
audience's interest in the folk painting exhibition in the VR environment and their expectations
for future VR exhibitions.
The above surveys were conducted on the Google Form platform and sent survey links via
email and social media.

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Table 3

A quick preview of the survey data shows that more women are interested in folk paintings
than men when more than 114 Vietnamese women (69.6%) and 20 foreign women (68.9%) are
willing to participate in the survey in table 3 below. The survey shows that more than 80% of
survey participants are between the ages of 15 and 40, of which more than 60% are from
puberty and very young, from 15-20 years old. The young generation is also the object that the
study wants to target to examine the tastes and attitudes of young people towards traditional
folk paintings of the country.

Table 3 Demographic profile of research participants 1stS

Vietnameses Foreigners
No Factor
Frequency % Frequency %
1 Age Range 15-20 103 63.2 2 6.9
Range 21-30 39 23.9 5 17.2
Range 31-40 14 8.6 15 51.7
Range 41-50 3 1.8 5 17.2
Range 51-60 4 2.5 2 6.9
Range 61-65 0 0 0 0
Sub-Total 163 100 29 100
2 Sex Male 49 30.1 9 31
Female 114 69.9 20 68.9
Another gender 0 0 0 0
Sub-Total 163 100 29 100
Grand-Total 163 100 29 100
Source: Field data from Vietnam, from 15 September to 30 September 2021. Google Form.

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Table 4

The survey in table 4 also showed that the participants' occupations were mainly students;
students accounted for more than 77.2%. Master and Ph.D students make up 3%. People who
work related to offices, organizations, and companies accounted for 16.7%. No people of
retirement age participated in the survey. The author intentionally targets the survey subjects
who are working and studying at school as they have many sources of knowledge to access
every day. In addition, this survey will similarly show clearly whether the Vietnamese people's
social awareness has a capable understanding of their nation's cultural and artistic traditions.
The survey included 29 people from European countries (this is an additional survey).
Although the number of participants in the survey is not abundant, it shows whether the
popularity rate of the famous Dong Ho folk painting line is internationally loved or interested.

Table 4 Demographic profile of research participants 1stS

Vietnameses Foreigners
No Factor
Frequency % Frequency %
1 Job Highschool, college 125 77.2 2 6.9
Master, Doctoral degree 5 3 5 17.2
Officer 27 16.5 15 51.7
Part time, freelancer 11 6.7 5 17.2
Intrepreneur, bussiness 2 1.2 2 6.9
Retirement 0 0 0 0
Sub-Total 163 100 29 100
2 City Ho Chi Minh(Vietnam) 47 22.8 0 0
Another city (Vietnam) 116 77.2 0 0
Helsinki (Finland) 0 0 2 6.9
Stockholm (Sweden) 0 0 15 51.7
Zlin (Czech Republich) 0 0 7 24.1
Hamburg (Germany) 0 0 5 17.2
Sub-Total 163 100 29 100
Grand-Total 163 100 29 100
Source: Field data from Vietnam, from 15 September to 30 September 2021. Google Form.

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Table 5
Table 5 The participants knowledge about Vietnamese folk paintings 1stS
Vietnameses Foreigners
No Factor
Frequency % Frequency %
Number of people who
know about folk
1 94 57.7 0 0
paintings and have a bit
of knowledge
Numbers who have heard
2
of folk paintings but have 67 41.1 10 34.5
no knowledge
Numbers who no have
3 heard of folk paintings 2 1.2 19 65.5
before
Grand-Total 163 100 29 100
Source: Field data from Vietnam, from 15 September to 30 September 2021. Google Form.

Table 6
Table 6 Recognize the familiarity of Vietnamese folk paintings 1stS
Vietnameses Foreigners
No Factor
Frequency % Frequency %
1 Dong Ho folk painting 160 98.2 3 10.3
2 Kim Hoang folk painting 21 12.9 0 0
3 Hang Trong folk painting 60 36.8 2 6.9
Glass Southest folk
4 12 7.4 0 0
painting
5 Sinh village folk painting 16 9.8 0 0
Numbers who no have
6 heard of any folk 1 0.6 14 48.3
painting lines before
Grand-Total 163 165.7 29 100
Source: Field data from Vietnam, from 15 September to 30 September 2021. Google Form.

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Table 7
Table 7 Demographic profile of research participants 2ndS
Vietnameses
No Factor
Frequency %
1 Age Range 15-20 75 62.5
Range 21-30 21 17.5
Range 31-40 12 10
Range 41-50 6 5
Range 51-60 5 4.2
Range 61-65 1 0.8
Sub-Total 120 100
2 Sex Male 32 26.7
Female 88 73.3
Another gender 0 0
Sub-Total 120 100
Grand-Total 120 100
Source: Field data from Vietnam, from 25 March to 5 April 2022. Google Form.

Table 8
Table 8 The level of interest in the virtual reality exhibition space
Walk into Dong Ho painting (WIDHP) 2ndS
Degree evaluation Vietnameses
No Question
1 2 3 4 5 Frequency %
The level of interest in the
virtual reality exhibition
1 0 1 13 55 51 120 100
space WIDHP (Rate from 1
to 5)
Grand-Total 0 0.8 10.8 45.8 42.5 120 100
Source: Field data from Vietnam, from 25 March to 5 April 2022. Google Form.

Table 9
Table 9 Impressive level with the exhibition of Dong Ho folk paintings in VR 2ndS
Degree evaluation Vietnameses
No Question
1 2 3 4 5 Frequency %
Do you find Dong Ho
paintings presented more
impressively and vividly
1 0 2 11 71 36 120 100
than traditional 2D painting
exhibitions? (Rate from 1 to
5)
Grand-Total 0 1.7 9.2 59.2 30 120 100
Field data from Vietnam, from 25 March to 5 April 2022. Google Form.

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Table 10

Table 10 Desire level to see more Dong Ho folk paintings in VR 2ndS

Degree evaluation Vietnameses
No Question
1 2 3 4 5 Frequency %
Please rate your desire to
see more DHFP in the VR
1 0 0 12 74 34 120 100
exhibition environment.
(Rate from 1 to 5)
Grand-Total 0 0 10 61.7 28.3 120 100
Field data from Vietnam, from 25 March to 5 April 2022. Google Form.

Table 11

Table 11 Level of Interested in learning more about Vietnamese folk paintings after seeing
the WIDHP exhibition 2ndS
Degree evaluation Vietnameses
No Question
1 2 3 4 5 Frequency %
Please rate your interested
in learning more about
Vietnamese folk paintings
1 0 2 19 72 27 120 100
after seeing the WIDHP
exhibition (Rate from 1 to
5)
Grand-Total 0 1.7 15.8 60 22.5 120 100
Source: Field data from Vietnam, from 25 March to 5 April 2022. Google Form.

Table 12

Table 12 Predict application of this VR exhibition in the future 2ndS

Possitive Negative Vietnameses
No Question (%) (%) Frequency %
Do you think in the future this type
of exhibition will continue to be
1 invested in and promoted at 117 3 120 100
museums of Vietnamese folk
paintings?
Grand-Total 97.5 2.5 120 100
Source: Field data from Vietnam, from 25 March to 5 April 2022. Google Form.

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6. DISCUSSION OF RESULTS/FINDINGS
CONTRIBUTIONS OF THE DOCTORALS THESIS
In this section, the author discusses the study results to answer the research questions from part
1 of the thesis, i.e. RQ1, RQ2, RQ3, RQ4, respectively. Each question will be discussed in turn
in sorted order. This is presented for the reader to follow the discussion more understandably
and vividly. In the next section, the author will recap and focus on the contribution of the thesis
based on the research goals made in part 1.
6.1 Discussion of results/findings
RQ1 What factors are causing difficulties in preserving Dong Ho folk painting in Vietnam?
First of all, the first difficulty is that there is not account compulsory attention from the
competent authority and the local government of Bac Ninh province. According to selected
documentary sources, at least one Dong Ho folk paintings exhibition shows per year.
Unfortunately, they lack investment in installation of space design and not highlight the actual
value of Dong Ho folk paintings. The proposal to build a profile of the profession of making
Dong Ho folk paintings was planned a few years ago in to hope that, if it becomes a world
heritage site with specific regulations on conservation, promoting heritage will "save" a craft
that is in danger of disappearing. According to the deadline, in December 2019, the dossier of
Dong Ho painting village will be considered by UNESCO in its regular meeting. Among the
Intangible Cultural Heritage of Vietnam recognized by UNESCO, there are merely festivals,
social practices, and performing arts.
Consequently, if the profile of Dong Ho's painting profession is approved, this will be the first
traditional craft of our country to be honored by UNESCO. Nevertheless, due to the issue of
the covid-19 pandemic, so far, this approval process has been delayed. In addition, the
government is still concerned with more pressing issues regarding the national economic
situation during this period. The national artistic and cultural conservation needs are in the last
order of priority (Lu, 2018).
According to artist Nguyen Dang Che, the next difficulty said over the years of working in the
profession. He has realized that one must live by it to maintain a job. The people in his village
know about skills in painting art. Afterward, due to limited market demand and difficult life, it
is not intricate for people to switch to other occupations. Since he has a passion for the
traditional paintings of his homeland, he correspondingly studied fine arts and worked in many
different cultural agencies. He would like to retire early to focus on painting since his family
can manage, run a business and live off paintings. That fact helped to convince his children
and grandchildren to quit farming and make wares (Lu, 2018).
Nevertheless, if people wish to preserve and promote the painting profession, they demand the
support of functional agencies and cultural and professional organizations, especially the
investment and construction planning. We educate young people not only painting techniques
but also passion, hoping to see the value of heritage. In the long term, Bac Ninh province craves
to have acceptable policies for artists, for learners to make paintings, compensate for the price
of products, and make efforts to promote, introduce, and obtain output for products. In addition
to the general responsibilities of the relevant agencies, departments, and sectors, the artisans

87
and people themselves necessitate having responsibilities such as transmitting knowledge and
techniques and teaching about the cultural roots and local identity. The legacy will have a
mission to preserve culture for the younger generation.
Moreover, the younger generation requisite to be aware of cultural values to protect and
maintain the national heritage. The case of artist Nguyen Dang Che is an example. Before the
change in life and market mechanism, he struggled and challenged himself a lot to find a way
to develop Dong Ho paintings. At the international scientific conference, "Protecting and
promoting the artistic value of DHFP in contemporary life," coordinated to organize from
November 1st to 2nd, 2019, domestic and international scientists discussed and shared
experiences on how to promote the traditional values, culture art of the nation. In this
workshop, Asian countries raised similar difficulties in maintaining their national craft villages.
The current solution for preserving Dong Ho folk paintings is still lacking in output sources.
While the painting production process is quite long and time-consuming, painting and painting
techniques use much manual labor from artists. The painting price still does not reflect the
labor time spent on a painting. The preservation of paintings and their release to the world is
also another difficulty. Over time, paintings can fade and be challenging to maintain. From
here, it enhances that the question of a new method to preserve DHFP is an urgent and essential
issue for the Vietnamese state and the artists attempting to maintain its existence.

RQ2 What is the new method of exhibiting traditional folk art in Vietnam from now and
shortly?
From the difficulties in preserving DHFP answered to RQ1, this study continues to find
solutions for promoting Dong Ho paintings through the form of exhibitions. Even though
DHFP is a line of paintings more than 600 years old, it should not be assumed that this line of
paintings is simply for the elderly or has a tendency to nostalgia. The State should fight to
promote the preservation of paintings and adore paintings in ancient and outdated forms. The
above promotion methods make most of the public different and bored with traditional national
artistic values. This prejudice will entice the whole thing belonging to the national tradition,
which is not an area of concern for young people.
According to the author, the image represents the Dong Ho folk painting line as a decisive key
for orienting the trend of aesthetic development of the young generation in a country. Typically
exhibitions at museums, galleries, graphic publications. For large exhibitions with capital
investment from the government, careful preparation is required before being officially opened
to the public. The preparation here includes relevant factors to marketing and PR that have long
been forgotten. Those critical factors include: understanding market needs, understanding the
public's art tastes, understanding art development trends in the community, finding out about
accessibility, and attracting the public's attention.
After careful research, it is necessary to consider and carry out abundant surveys to initially
evaluate the judgments about folk painting art and find out the preferences of the masses. This
survey will provide standards and reasonable reasons for designing the basic concepts for the
museum following aesthetic tastes, updating trends to keep up with the times while still
smoothly intersecting between classic and modern. Presentation, arrangement, and lighting are
always the keys to success for any art exhibition. DHFP are not an exception. The suitable

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investment in research, survey, and design will gradually change the public's perception of the
nation's art organization. From these initial impressions, although diminutive, the author
believes that with many efforts to improve the way the exhibition is displayed, it will assist to
change people's old prejudices at the same time. People will impression the beauty and value
of their country's traditional folk painting art and be proud that their country owns that treasure.
Doing this is not leisurely in a short time, the authorities ought to show their interest and
develop a long-term plan with specific goals.
The artisan Nguyen Dang Che said that his son opened a gallery in Hanoi, accessing foreign
markets. Despite his advanced age, artist Nguyen Dang Che even actively participates in
activities to promote and introduce Dong Ho folk paintings. He combined with groups of young
artists to create folk-inspired paintings to bring out his traditionally more flexible approach to
young people. He added that recently, a group of young people passionate about value
communication had implemented the idea of gathering and digitizing folklore to preserve and
experiment with Hang Trong paintings. Accordingly, the graphic details will be processed by
computer software to store in a digitized environment, avoiding any risk of damage or loss
during operation time. Over time, folk painting patterns will have conditional applications in
fashion design, graphics, furniture, and handicrafts to deepen the media. If this application is
being tested with a DHFP, people can actively contribute to the story of preserving and
promoting the valuable cultural system.

RQ3 How to apply virtual reality exhibitions to traditional ways of folk painting exhibition in
Vietnam?
This question is also at the main point of the research methodology of this thesis. While
researching the thesis, the author has read many documents, researched, analyzed, and
participated in the design with a team of 3D modeling studios to bring the most optimal design
process. This process is time-consuming and capital intensive in the production process.
This process is studied and described in great detail in sections 4 and 5 of the study. In addition,
the author lists in detail the jobs of producing 3D models, converting 3D environments into
VR, and producing videos, which are also presented in detail in Table 2.
Subtracting the research step is the first step of the process. The following steps in costume
and character design ideas, virtual museum space design, and environmental design occur in
the paintings (precisely, Dong Ho communal house), taking place almost parallel the work of
many designers and artists at the same time. These steps take a lot of time and effort of the
performer, editing many times to reach perfection according to the original requirements. The
step of transforming the museum environment into a painting into a virtual reality (VR)
environment does not take too much time. Notwithstanding, it will give the most overview of
the entire process. At this time, the editing allows merely limited performance, and it is difficult
to change the drawn models. The last step is the video editing part as the author's purpose is to
show the video for a broad audience to see and participate in the survey. Conditions for viewing
in a virtual reality environment require a computer system with a high-configuration processor
and graphics card. In addition, the requirement for a VR headset is an obstacle for all audiences.
The author decided to render the exhibition footage in 1080HD video clip format shown on a

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link from his personal Youtube channel. While it is the last stage, this stage of editing requires
careful selection of music and subtitles, scenes, and scripts.
RQ4 Does the exhibition by the traditional method attract viewers, especially young people?
How do they feel that the presentation of folk paintings in virtual reality is different from the
conventional exhibition-style?

Based on the survey results in Tables 7 to 12, the age group who is willing to participate in
viewing the link of Dong Ho painting exhibition space accounts for the majority of the age
group from 15 to 20 (62.5%), and the age from 15 to 20 years old. 21 to 30 years old (17.5%).
These ages also showed a positive attitude towards the exhibition environment of Dong Ho
folk paintings in virtual reality. According to the survey scale from low to high (level 1-5),
more than 55 people chose level 4, and 51 people chose level 5 out of 120 survey participants.
The number of less excited people is only 14 people (accounting for 11.6%). Among them,
there were still 13 people who reached the average level of excitement (level 3).
When asked about the difference between the traditional painting exhibition method and the
method of jumping into the picture (VR environment), the participants almost unanimously
agreed that the exhibition method applied VR creates a feeling of more vivid and visually
stimulating (62.2% level 4 and level 5).
The above survey results show us a positive trend in accepting the new exhibition method
among young Vietnamese. Although there are some negative feedbacks, they account for a
negligible percentage and are usually in the age group of 41-60. Men also accounted for a low
rate of their willingness to participate in the survey and responded less positively than women
in different age groups. This response also opens the door to a future audience for museums
and galleries, as women tend to devote more time and attention to art and exhibitions than men.
In addition, the sensitivity of women through the survey also shows more openness and ease
than the other gender.
When submitting the survey link, we had to take the extra step of instructing viewers how to
install Steam and VRchat software to be able to access the exhibition space link. This software
is also quite popular and easy to install for those who play games or use desktop computers
and Windows operating systems—restricted to users of Macbook and iOS operating systems.
That is also why the number of people participating in the second survey did not reach the same
number as the first time.
However, the second survey again shows the ease of receptiveness to the exhibition trend in
the VR environment. Although this exhibition concept model is incomplete with a small
number of paintings, the survey results show that participants experience the desire to see more
Dong Ho folk paintings in virtual reality. After seeing the exhibition, they also wanted to learn
more about Vietnamese folk paintings, with 60% of people choosing level 4 and 22.5% of
survey respondents choosing level 5.

6.2 CONTRIBUTIONS OF THE DOCTORAL THESIS

This section discusses the theoretical and practical contributions of this research to science.
This research is entirely new in Vietnam. It is also one of the most in-depth studies and has
factors in developing the form of preserving traditional Vietnamese folk paintings. The study

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aims to provide a realistic view of the aesthetic tastes of young Vietnamese people toward the
country's traditional art. The study assists to explore another aspect of the traditional folk
painting exhibition by applying modern technology and graphic software. This research can
open a different view of Vietnamese people about folk painting, specifically Dong Ho folk
painting.
Recap the Research Goals of the thesis
RG1 Study the historical value and artistic value of Dong Ho folk paintings
RG2 Research and determine measures to preserve Dong Ho folk paintings in the form of 2D
paintings in a virtual reality environment
RG3 Conduct experiments and compare the differences between traditional folk painting
exhibition environments and virtual reality environments.
RG4 Evaluate the experimental results and draw new methods to preserve traditional folk
paintings
RG5 Study on the difference between the visual effects and the attitudes of the viewers
between the traditional painting exhibition and the folk painting exhibition in the virtual reality
format
6.2.1 Theoretical implications
In researching documents on Vietnamese folk paintings, the author found that there are very
few valuable and updated sources of new information. The field of VR exhibitions in Vietnam
is also not yet widespread. Arguably, this study is a pioneer of research to find new methods
in the exhibition folk paintings in Vietnam. The culture of Vietnam inherently has the
interference of Western cultures (France, America) and Chinese culture. The development of
art in general and art museums is still undeveloped and has not received extremely government
attention. In terms of cultural awareness, the aesthetic and artistic sense of the majority of the
population is still limited. For those who do not have much knowledge about Dong Ho folk
paintings, the content of chapter 4 of this study contributes to providing the most general
knowledge about the history and production process of folk paintings. In terms of historical
research along with artistic value from RG1 and the restoration of Dong Ho paintings from 2D
version to virtual reality environment (RG2) is entirely possible.
This study, therefore, suggests a direction for the Dong Ho folk painting exhibition to be more
accessible to the general public of all ages. The study challenges the application and adaptation
of 2D folk painting digitization methods to the VR environment. This process takes much time
to research, create ideas, build contexts, draw the modeling and edit modeling. The study
applies quantitative methods and application design methods in a single study, so the survey
numbers from users are close to reality and social needs for future studies to consider using
two methods instead of individually.
6.2.2 Practical implications
In terms of research application, this can be said to be the first virtual reality video and link in
Vietnam to introduce DHFP. The study will be a valuable reference source for the competent
authorities related to cultural preservation and the museums and Dong Ho painting villages in
Bac Ninh to create other aspects of painting presentation of traditional folk. In addition, the
work state and steps to make a clip for the exhibition in the VRE are also systematized by the

91
author. These steps will be a practical example for organizations and competent authorities to
continue developing other painting themes of DHFP or other lines of folk painting in front of
their risk of transmission loss.
Research has shown that young people (15-30 years old) are entirely interested in the country's
folk art, not indifferent and indifferent. They are willing to visit the VR exhibition in real life
for research purposes and introduce to international friends Vietnamese folk paintings. Of
course, these needs can only happen when museums and cultural agencies pay attention to and
update the trends in understanding the folk art of Vietnamese youth. Therefore, this study will
be a wake-up call for policymakers of cultural conservation in the future, suggesting potential
audiences that will contribute to the conservation of folk art culture in Vietnam.
The study is an ideal reference example of the budget to implement the digitization process
and build 3D models for the relevant organizations. In order to create a complete archive of
more than 200 paintings (including Dong Ho folk paintings), the competent authorities will
have to solve an economic problem and propose the necessary funding sources from the bank
national and independent donors. The study results also lead to the goal of understanding the
difference between the viewer experience from the traditional exhibition method to the new
method of applying virtual reality technology (RG3 & RG5). Based on the research process of
the thesis, we can also draw steps in the process of restoring a folk painting work. This
contribution deserves to be a typical example for FAM in Vietnam to refer to and study further
in the future (RG4).

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7. CONCLUSION, LIMITATION, AND FUTURE RESEARCH
This section entails the concluding remarks of the author in respect of the study and
highlights the restrictions furthermore as provides areas needing further research attention.

7.1 Conclusion
Dong Ho folk paintings with more than five centuries of vitality have left bold imprints and
distinct nuances in Vietnamese folklore. Preserving, honoring, and developing the profession
of making Dong Ho folk paintings is now an essential issue. The line of Dong Ho folk paintings
has long entered the subconscious of many generations of Vietnamese people with images of
the wedding of mice, chickens, honor, and wealth, combining the quintessence of plastic arts,
paper making, and color mixing. However, in Dong Ho Village, Song Ho commune, Thuan
Thanh district, Bac Ninh province, only four households are making traditional paintings,
which still preserve the oldest way of making paintings of Kinh Bac land. The story of
preserving the Dong Ho painting profession has been mentioned a lot. The process of making
documents is also relatively complete. However, the most important thing is how to make the
heritage live sustainably in the heart of the community, which is not at all easy. Many
restoration and conservation activities by dedicated units and individuals have been
implemented after the disappearance, loss, and challenges of folk paintings in contemporary
life contribute to honoring the value and bringing folk paintings closer to the public. However,
many argue that it is necessary to have a synchronous solution for this activity to be effective
and sustainable. The State needs an active support policy to preserve this heritage.
Assoc. Prof. Trang Thanh Hien, Lecturer at the Vietnam University of Fine Arts, said since the
15th and 16th centuries, Vietnamese people have enjoyed painting not only during Tet, but
Vietnamese paintings also play an essential role in their live spirituality, for example in
ancestral worship or temples and pagodas. Therefore, reviving the Vietnamese tradition of
painting and returning to the traditional folk aesthetic should be done and preserved, thereby
encouraging Vietnamese people not only to play modern paintings but also to play traditional
art. folk paintings to enrich spiritual life. The transmission, profession, and succession of
artisans have been and will still be significant challenges in conserving cultural heritage,
including folk paintings. From now on, it is necessary to promote the collection and
preservation of folk painting techniques and have a special treatment for living artisans to pass
on their craft to the younger generation (TITC, 2016).
Vietnamese folk paintings have been studied, preserved, and promoted from the last decades
of the twentieth century. Many museums still store and display folk paintings, such as the
Vietnam Fine Arts Museum, the Museum of Ethnology, the Museum of Vietnamese Ethnic
Cultures, and the Hanoi Museum. However, in the increasingly modern socio-economic
context, the need to play and use paintings is no longer as popular as before, so there is less
demand for products in large quantities, leading to folk paintings being in danger of being lost
or lost. In addition, some households producing wood-printed paintings have chiseled out parts
of Chinese and Nom characters on many printed boards, which has affected the meaning of
folk paintings, reducing their originality and uniqueness originality of folk paintings (TITC,

93
2016). The change in the use of paper-making materials and industrial paints in recent years
has also created qualitative changes to traditional folk paintings.
There are many opinions that we also need to change our thinking about painting restoration
to go deeper into the core of humanistic culture and beliefs that people place in each picture.
As Assoc. Prof Phan Thanh Binh, former Rector of the Hue University of Arts: The
preservation and development of folk paintings cannot be done superficially in a seasonal
fashion, such as organizing a festival or a festival no one checks continues to maintain.
Therefore, it is crucial to find people dedicated to doing it. It is impossible to urge the youth to
learn folklore and tradition, and the form cannot exist.
In order to preserve and promote the values of folk paintings, the State should step up the
promotion, promotion, and publication of specialized books on folk paintings. The
development of policies to honor artisans and folk artists; training, vocational training, and
vocational training for the next generation is necessary. Building cultural and tourist centers,
taking the production of folk paintings to attract tourists and creating conditions for tourists to
experience the printing and production of paintings are needed. The authorities have promoted
the collection of historical documents on folk paintings, restored the printed boards according
to the archetypes of newly found paintings, and restored the previously chiseled Chinese and
Nom characters. Increasing the introduction of folk paintings at museums and implementing
the preserving Dong Ho painting village project would promote international cooperation
activities on folk paintings (Bac, 2020).
This research project is one of the author's passions, hoping to contribute to preserving national
folk paintings. The project is studying the steps of restoring folk paintings from the traditional
2D version to the 3D model and transforming it into a virtual reality environment. To be able
to achieve the main objective, three specific goals were set for implementation: RG1 Study the
historical value and artistic value of Dong Ho folk paintings, RG2 Research and determine
measures to preserve Dong Ho folk paintings in the form of 2D paintings in virtual reality
environment, RG3 Conduct experiments and compare the differences between traditional folk
painting exhibition and virtual reality environments, RG4 Evaluate the experimental results
and draw new methods to preserve traditional folk, RG5 Study on the difference between the
visual effects and the paintings of the viewers between the traditional painting exhibition and
the folk painting exhibition in the virtual reality format. The research was conducted according
to researching documents about the museum, the types of exhibitions in the museum, the
history of Dong Ho folk paintings and the steps of making folk paintings, and researching
virtual reality technology applied to the field exhibition model. Then research picture
information, a small survey to choose the required painting, and 3D modeling reconstruction
from two selected paintings. Finally, the drawn 3D modelings are integrated with the VR
virtual reality environment. The author also downloads a link on the free Steam and VR chat
platforms for users to experience at home (with or without VR glasses) and a clip of people's
experiences in the art exhibition's virtual reality environment (VRE). From here, after sending
clips and links for users to experience and filling out a survey on user perception, the author
draws statistical tables and synthesizes parameters to answer the research questions from the
beginning.
Along with the country's changes, some lines of paintings flourish, but some paintings
quickly fade out. The historical and cultural values in folk paintings reflect the rich and

94
distinctive spiritual and cultural lifetime of the Vietnamese nation. With the unique and
meaningful content and artistic value, we expect that the Dong Ho folk painting profession will
soon be recognized as an intangible cultural heritage of humanity. Revitalizing folk painting
villages in contemporary life may be a complex story that cannot be done overnight. The
author supposes that beyond the involvement of the State, functional units, within the local
craft villages, with the keenness of the artisans, the mobilization of socialization activities is
additionally necessary to form the revival of people's paintings simpler and more sustainable.
Today, although time has passed, fading, folk paintings are not any longer at their peak, but the
good values of every line of paintings are still there and can forever be the heritage of the
Vietnamese people.

7.2 Limitation of the study

Although the study was written and conducted over nearly three years, it was not without its
shortcomings and limitations throughout its implementation. First, the limited budget makes it
impossible to pay for the restoration of more Dong Ho folk paintings so that the virtual reality
exhibition environment can achieve a higher visual effect. In this study, only the two paintings
voted the most by the survey participants were used to be included in the exhibition.
The covid-19 epidemic has been brought under control but is not entirely over yet when writing
this thesis. The process of designing and restoring Dong Ho folk paintings took place when the
epidemic in Vietnam entered the most intense period of lockdown. In this situation, the author,
designers, and artists do not meet directly to develop ideas. Nonetheless, they have to work
through the social networking platforms of Facebook messenger, Drive, and Gmail of Google,
Discord, and Teamviewer to exchange jobs. It is a big obstacle for the design process because
the interaction via the internet makes the idea review process late. The two sides do not
understand each other or misunderstand each other, describing the design by words or messages
must go through. Many steps are sometimes incorrect. The internet in Vietnam sometimes loses
connection because of using outdated transmission lines.
7.3 Future research
The formation and development of each line of folk painting have their achievements and
meanings that affect the minds of the beholder. From the formation of the working
environment, the function of the painting line and the service of the painting line have created
an aesthetic value, reflecting the thinking of agriculture and rural Vietnam. Each line of folk
painting has a distinct philosophical value from the formation and development of ideology
and regional and regional labor thinking. This research needs more attention from the
authorities, the culture, and the museum to further perfect the testing methods of painting
exhibitions suitable to the times. The research also needs more support from designers and
artists to further edit the character models in the picture to be animated and moveable in the
future. Funding implementation for similar field research is also a challenge. In the future,
other studies should also pay attention to the configuration of the computer system and the use
of virtual reality glasses for the final output. The form for the viewer to experience the photo-
realistic exhibition and the experiential space is also important to researchers. The author also
expects other folk painting collectors, such as Kim Hoang folk paintings, Hang Trong

95
paintings, and Lang Sinh paintings, to consider this study as a typical example to promote the
conservation of Vietnamese folk paintings further.

96
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SCIENTIFIC PUBLICATION ACTIVITIES BY THE AUTHOR

PUBLICATIONS:
ORCID: https://orcid.org/0000-0002-5713-6895
Research Gate: https://www.researchgate.net/profile/Ngoc-Quynh-Giao-Pham-2
Google Scholar: https://scholar.google.com/citations?authuser=3&user=k5Zxs80AAAAJ

Indexed in ISI/SSCI/Web of Science, Scopus etc.

A. Journal publications

1) Pham, N. Q. G., Han, Seung Hoon.The structure Particularity with Habitability Factors
and Performance of VE Process for The Construction New Hanok Village Evolvement
in Korea, 2015, ASET conference, Bangkok, Thailand.
2) Pham, N. Q. G., Han, Seung Hoon. Reconstructive analyses on architectural design
performance for the spatial sustainability by interactive shape grammars, 2017, ISER
International Conference Vienna, Austria.
3) Pham, N. Q. G., Pham, P. Phuong, & Stanicky, P. Change in urban planning and
proposed solutions in the current context of Ho Chi Minh City, Chapter 10, Urban and
Transit Planning, Towards Liveable Communities: Urban places and Design Spaces,
ISBN978-3-030-97045-1, DOI: 10.1007/978-3-030-97046-8
4) Pham, P. Phuong, Pham, N. Q. Giao, Spatial configuration of traditional houses and
apartment unit plans in Ho Chi Minh city, Vietnam: A comparative study, SPATIUM,
No. 45, pp 34-45, June 2021
5) Pham, P. Phuong, Pham, N. Q. Giao, A Comparative Study of a Difference in the Spatial
Structure of Vietnam Village, EUROPEAN ACADEMIC RESEARCH Vol. VIII, Issue 10/
January 2021
6) Pham, N. Q. G., Le, T. H. A., Nguyen, M. H., Adzovie, D. E., & Stanicky, P. Application
of Virtual Reality to enhance the interpretation Dong Ho folk paintings in Museums of
Fine Arts in Ho Chi Minh City, AET conference December 2021

B. Conference proceedings

1) Pham, N. Q. G., Han, Seung Hoon.The structure Particularity with Habitability Factors
and Performance of VE Process for The Construction New Hanok Village Evolvement in
Korea, 2015, ASET conference, Bangkok, Thailand.
2) Pham, N. Q. G., Design Suggestions for Concurrent Urban Transformation in Ho Chi
Minh City, Vietnam, 2016, SOHUM conference, Kota Kina Balu, Malaysia.
3) Pham, N. Q. G., Study of Production systems of Microalgal Biomass and Harvesting
Microalgae, 2016, European Advanced Materials Congress, Stockholm, Sweden.
4) Pham, N. Q. G., Pham, P. Phuong, & Stanisky, P. Change in urban planning and proposed
solutions in the current context of Ho Chi Minh City, 2020, the International Conference
on Urban Planning and Architectural Design for Sustainable Development, Florence
university, Italy.
5) Pham, N. Q. G., Le, T. H. A., Nguyen, M. H., Adzovie, D. E., & Stanicky, P.
Application of Virtual Reality to enhance the interpretation Dong Ho folk paintings in
Museums of Fine Arts in Ho Chi Minh City, AET conference December 2021

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 6) Sandeep K. Dey, Vo, V. Hung, Huynh,T. Hoc, Pham, N. Q. Giao, Estimating factors
towards adoption of AR apps for housekeeping training in 5-star hotels: COVID-19
perspective. Conference: AIRSI2021 Technologies 4.0 in Tourism, Services and
Marketing At: Universidad Zaragoza. Project: Junior Grants of UTB in Zlín
7) Adzovie, D. E., Adzovie, R. H., Jibril, A. B., & Pham, N. Q. Giao (2021, July). Gender,
Teenagers and the Motivations behind Identity Construction on Social Media: A
Conceptual Study from the Perspective of Czech Republic and Ghana. In ECSM 2021 8th
European Conference on Social Media (p. 8). Academic Conferences Inter.
8) Sandeep K. Dey, Vo Viet Hung, Pham, N. Q. Giao, Huynh,T. Hoc. Engaging virtual
reality technology to determine pro-environmental behavior traits among eco-tourists,
May 2021, Conference: TOURMAN 2021 Restarting tourism, travel, and hospitality: The
day after, International Hellenic University, Zayed University and Aristotle University of
Thessaloniki, ISBN: 978-618-84798-9-0

C. Exhibition

• Online exhibition: The other side of SPACE. (2018). INTERNATIONAL, 104.

https://www.dbpia.co.kr/journal/articleDetail?nodeId=NODE07577376, 2018, Korea.
• DOT exhibition, Colab exhibition, Hall B, Faculty of Industrial of Fine Art, Ton Duc
Thang University, 2018, Vietnam.
• DEEP-NUTRITIONAL MOMENTS, Colab Glass studio exhibition, Photogether
Gallery, 2020, Czech Republic.

D. Ongoing projects

Engaging virtual reality technology to determine pro-environmental behaviour traits among

eco-tourists (JUNG project 2021-2023)

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APPENDICES

Appendix A
AUTHOR'S CURRICULUM VITAE

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103
REFEREES

1) Doctoral, Arch D Pham Phi Phuong

Working Place: Mien Tay Construction University
Position: Vice Dean of Architecture Faculty
Cell Phone No. (+82) 10 4039 4048
Email:[email protected]
2) MA. Hoang Le Duy
Head of Interior design
Department Industrial of Fine Art
Ton Duc Thang University, HCM city, Vietnam
Cell Phone No. (+84) 0938 270 009
Email: [email protected]
3) Associate Prof. Yuru Wang
STU-School of Architecture and Interior design
Shute University, Kaohsung, Taiwan
Office phone: 07-6158000#3522
Fax: 07-6158000#3599
Email:[email protected]
4) Prof. MgA. Petr Stanický
Glass studio, U16
Faculty Multimedia of Communications
Tomas Bata University, Zlín, Czech Republic
Cell Phone No. (+420) 724 206 833
Email: [email protected]

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Appendix B
Vietnamese survey question of the 1st survey
Source https://tinyurl.com/mr2mj3y9

105
Appendix C
Vietnamese survey question of the 2nd survey
Source https://tinyurl.com/5x5t5sum

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Appendix D
Another Vietnam folk painting lines
Hang Trong Folk Painting

Painting of the Queen of Heaven. Hang Trong paintings after drawing samples, woodcarving, stroke
printing, and hand-painted. This is the most challenging stage, requiring the artisan to be highly skilled.
The color scheme of this line of paintings, according to artist Le Dinh Nghien, is the principle of
harmony between hot and cold colors, representing the harmony "with yin and yang."

Kim Hoang Folk Painting

The pair of Mr. Phuc - Mr. Tho is printed on threaded paper. Mr. Phuc holds a pomegranate
("Pomegranate declaration of death"), having many children and grandchildren. Mr. Tho holds a peach
("Dao donate Thien Xuan"), symbolizing longevity.

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 Southern Glass Folk Painting

A complete nameless glass painting needs to go through many stages. Glass panels of all sizes
according to each picture are prepared by the artisans, then sketched with black paint, and then dried.
When the paint dries, it continues to color in the order according to each painting but still must
follow the complete opposite rule compared to ordinary paintings.

Sinh Village Folk Painting

Typical decorative calendar paintings of Sinh village folk paintings and carved
by artist Ky Huu Phuoc

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 Pham Ngoc Quynh Giao, MA

Exhibition of Dong Ho paintings in a virtual reality environment

at a Fine Art Museum, Vietnam

Výstava obrazů Dong Ho v prostředí virtuální reality v Muzeu výtvarného

umění ve Vietnamu

Doctoral Thesis

Published by: Tomas Bata University in Zlín,

nám. T. G. Masaryka 5555, 760 01 Zlín.

Edition: Published electronically

1st edition
Typesetting by: Pham Ngoc Quynh Giao

This publication has not undergone any proofreading or editorial review

Publication year: 2022

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