The recognition of Vietnamese art in the history of the world is relatively new, rather it's better to say that Vietnamese art has emerged from the abyss of darkness and come to face the light of the world! It cannot be claimed that the inception of Vietnamese art is a very recent event in world history. But one important reason for its late recognition lies in the conception of most art patrons who considered Vietnamese art as a mere replica of Indian and Chinese paintings. It's of course, undeniable that both these civilizations imposed tremendous impact on Vietnamese culture and tradition, but Vietnamese art has been highly successful in evolving itself as an independent art form, with a distinctness of its own. In fact, the greatness of Vietnamese art lies in the fact that it has been able to absorb the impressions of a variety of civilizations and cultures into its own cultural fabric.

Today, Vietnamese art has a distinct and honorable identity of its own. Not just that, this art culture is being widely appreciated worldwide and has been in huge demand by numerous foreign art lovers. Countries like Singapore, Japan, Hong Kong, Australia, France, Germany, Great Britain, Belgium, Switzerland, Sweden, Norway, Denmark, Holland, the USA, Argentina have held exhibitions in recent times which bear witness to the immense appreciation that Vietnamese art has received in recent times. Contemporary Vietnamese art possesses a life-like quality and an amazing diversity that has wooed art patrons worldwide. The younger generation of Vietnamese artists is motivated to reaffirm the Vietnamese culture in their works of art. Their paintings have become more self-explanatory and can be said to convey the vision of the artist. Modern Vietnamese paintings portray a unique combination of the artists' vision and international trends. Contemporary Vietnamese artists do not believe in replicating the masterpieces of their masters. Rather, they are intent on giving new dimensions to this genre.

Among the new breed of Vietnamese artists, the Gang of Five (comprising of the Hanoi painters Hong Viet Dung, Ha Tri Hieu, Dang Xuan Hoa, Tran Luong and Pham Quang Vinh) has succeeded to gain international acclaim through their innovative works of art. Upcoming artists like Tran Trong Vu, Hoang Hong Cam, Nguyen Than, Bui Minh Dung, and Le Quang Ha have breathed in a new lease of life to the erstwhile impressionistic tradition of art. The colorful vibrance of such works of art by Nguyen Trung, Do Hoang Tuong, Tran Van Thao speaks volumes of their abstractionist tradition. The iconoclast Truong Tan turns a corner from his staunch orthodoxy by producing his most unconventional works unraveling his gay convictions. Nguyen Bao Toan, Nguyen Minh Thanh in Hanoi and Le Thua Tien in Hue are among the first "engaged" installation artists to produce in Vietnam. Mention should also be made of Vu Dan Tan, the Sorcerer who turns castoffs into art works; the minimalist Le Thiet Cuong; the unclassifiable Dinh Y Nhi, with her hallucinatory black-and-white paintings, and the instinctive Vu Thang, with his compelling use of mixed media in lacquer painting.

In fact, Vietnamese art has received a tremendous boost on account of this wonderfully talented new generation of artists. No two contemporary artists are alike, neither in their themes nor in their imageries. This versatility has lent contemporary Vietnamese art an added dimension, which is destined to leave an indelible mark on the annals of world history.