Top 6 Essays Analyzing the Work 'Looking at Our National Cultural Heritage' by Trần Đình Hượu

Trần Đình Hượu (1927-1995) was an expert on Vietnamese culture and thought. He authored several influential works on culture and ideology, such as 'From Tradition to Modernity' (1994), 'Confucianism and Vietnamese Literature in the Modern Era' (1995), and 'Lectures on Eastern Thought' (2001).

'From Tradition to Modernity' by Professor Trần Đình Hượu is one of the most significant cultural studies. The excerpt titled 'On Some Aspects of Traditional Culture' comes from 'On the Issue of Identifying National Cultural Characteristics' (Section 5, Part II, and the entire Part III) of the work 'On Some Aspects of Traditional Culture.'

In this essay, the author avoids the simplistic praise or criticism often seen in cultural analysis. The spirit of the work is a scientific examination of the distinctive features of Vietnamese culture. The author adopts a calm, objective tone to present his arguments. To fully appreciate his work, readers must understand his broader goal: to contribute to the development of a strategy that helps the country overcome poverty and underdevelopment.

His view of life and ideals can be summarized as: 'Emphasizing the present life more than the afterlife,' but 'not clinging to the present or fearing death.' 'Awareness of individuality and ownership is not highly developed.' 'Desiring peace, security, and prosperity, living quietly with many children and grandchildren.' 'Being content with one's place in life, not seeking extraordinary or lofty ambitions.' 'The favored traits in a person are kindness and sincerity.' 'Wisdom is not praised as much as cleverness,' 'intellect is not valued over bravery,' and 'the Vietnamese have continuously resisted foreign invasions without being overly militaristic.' 'In the people's mindset, the Divine and Buddha are more prominent than money.'

Regarding beauty, he defines it as 'graceful and delicate.' 'There is no obsession with grandeur or the mystical; instead, there is a preference for gentle, elegant, and modest colors over gaudy ones.' 'Everything is aimed at achieving a soft, refined, charming beauty with modest scale.'

In conclusion, these views reflect 'the culture of an agricultural society, which does not have the need for exchange or movement, and is not stimulated by urban influences. The basic unit of an agricultural society is the peasant household, and the social organization is centered around the village.' This culture stems from a long-standing awareness of vulnerability and many uncertainties in daily life. It is also shaped by the blending of indigenous cultural elements with influences from Buddhism and Confucianism, which, though imported, have left a deep imprint on the national identity.

The standout feature of Vietnamese cultural creativity is its 'practical, flexible, and harmonious' nature. The strength of traditional culture lies in creating a stable, peaceful life with soft, elegant beauty, kind-hearted people, and a culture built on humanistic values. However, the limitation of traditional culture is the lack of a great creative ambition in life, not desiring extraordinary achievements, and undervaluing intellect.

After pointing out the less distinctive aspects of Vietnamese culture (which is not equivalent to 'criticism'), the author affirms that 'the Vietnamese have their own culture' (which is not equivalent to 'praise'). The author's argument is not contradictory. He asserts that seeking the uniqueness of Vietnamese culture does not require proving that the Vietnamese are superior to other nations in traits that have already been acknowledged as exceptional in those cultures. Attempts to prove this are futile. The author highlights the 'non-distinctive' elements of Vietnamese culture within this context, offering a suggestion for a methodological approach to studying national cultural identity.

Moreover, the author believes that culture is a synthesis of many factors, with lifestyle and life philosophy being central. Observing that the Vietnamese have a distinct way of life and worldview, he confidently states that the Vietnamese have a unique culture. Thus, the 'non-distinctive' aspects often mentioned do not imply a lack of culture. The author holds a comprehensive view of culture and bases his research on objective, empirical observation rather than preconceived knowledge.

The religions that have had a strong influence on traditional Vietnamese culture are Buddhism and Confucianism (although both were introduced from outside, they have profoundly impacted national identity). To shape national cultural identity, the Vietnamese adopted these religions in ways that emphasized practical living, peaceful existence, and a focus on graceful beauty, kindness, and culture over mere intellectualism or ritualistic formality.

The formation of Vietnam's national cultural identity: In the conclusion of the excerpt, Professor Trần Đình Hượu emphasizes, 'The formation of national cultural identity does not solely rely on the creative output of the nation itself but also on its ability to absorb and assimilate foreign cultural values. In this regard, history proves that the Vietnamese have the capability to do so.' The concept of 'creation' here refers to grand achievements, innovations that no other nation has achieved or has achieved but not on the same monumental scale, making a strong impact on the surrounding world, setting examples worth following. 'Assimilation' refers to the process of adopting and adapting cultural influences from other civilizations, allowing them to integrate and become part of Vietnamese culture through filtering and refining.

The term 'integration' bridges the concepts of 'assimilation' while highlighting the ability of various elements to peacefully coexist in a harmonious system, contributing to a new, unified whole. In summarizing Vietnam’s cultural identity, the author avoids any notion of inferiority or disparagement of the nation. He envisions Vietnam's 'future culture' as one that is advanced yet rich in national identity, blending with but not dissolving into the broader world, absorbing the cultural achievements of humanity to enrich its own culture.

The importance of studying the nation's cultural tradition: In today’s world, understanding the national cultural identity has become a natural necessity. Never before has the Vietnamese people had such a favorable opportunity to define 'their true face' through comparison and contrast with the cultural 'faces' of other nations. There is a mutual relationship between understanding oneself and understanding others. Investigating national cultural identity is crucial for developing a new strategy for the country’s growth, focusing on leveraging its strengths and addressing inherent weaknesses to confidently move forward.

Studying national cultural identity is closely tied to promoting the strengths and beauty of the nation, contributing to global exchanges that foster mutual benefits, peace, stability, and development worldwide.

Professor Trần Đình Hượu's work demonstrates that while Vietnamese culture may not be grandiose, it possesses distinct characteristics. The core spirit of Vietnamese culture is 'practical, flexible, and harmonious.' Approaching Vietnam’s cultural identity requires a unique path, one that does not rely on rigid models or futile comparisons to prove superiority over other nations on specific points. His writing reflects objectivity, scientific analysis, and intellectual rigor.

Professor Tran Dinh Huu (1927 - 1995) was a prominent scholar known for his insightful works on Confucianism and various cultural and ideological issues of Vietnam. The excerpt 'Looking at the Cultural Heritage of the Nation' is taken from his book 'From Tradition to Modernity,' published in 1986. His views on the distinctive aspects of Vietnamese culture and the construction of socialist culture based on traditional cultural values are both clear and persuasive in this text.

Tran Dinh Huu provides a general observation about Vietnamese culture: 'We cannot be proud of our culture as being vast, offering great contributions to humanity, or having any particularly outstanding characteristics.' He then assesses the cultural heritage of Vietnam, questioning whether myths are 'not rich or if, over time, they lost the interest of being passed down.'

Regarding religion, the Vietnamese are not fanatic or overly fond of philosophical debates. Although various religions are present, 'they often turn into a form of worship, with little interest in the doctrinal teachings.' As for science and technology, there are no fields that 'have developed into a tradition worthy of pride.' In music, painting, and architecture, 'none have reached the level of mastery.' These observations by Tran Dinh Huu seem accurate. Anyone who has attended folk festivals from the North to the South, such as the Perfume Pagoda Festival, Phu Giay Festival, or Ba Chua Sam Festival, will sense that religion has indeed turned into 'a form of worship,' as the author noted.

Regarding poetry, Tran Dinh Huu points out: 'Among the arts, poetry is the most developed. Almost anyone can write a few lines of poetry.' This is an accurate assessment. However, the reader may hesitate when the author states: 'But there are few poets who have left behind many works.' How then do we view the works of great poets like Nguyen Trai, Le Thanh Tong, Nguyen Binh Khiem, Nguyen Du, Cao Ba Quat, and Nguyen Khuyen, whose poems are numerous and of great literary value?

What are the limitations of our culture? Tran Dinh Huu attributes these to the 'trends, interests, and preferences' of the Vietnamese people. On a deeper level, he links these limitations to 'the limitations of the production levels in our society.' Vietnamese culture 'is the culture of a settled agricultural society, with no need for mobility or exchange, and without the stimulus of urban life.' This is a deep and insightful perspective on the scope, identity, and limitations of Vietnamese culture.

2. According to Tran Dinh Huu, life philosophy, ideals, and notions of beauty are key aspects of Vietnamese cultural identity. a. In terms of life philosophy, the Vietnamese people have 'little religious spirit,' they 'value this worldly life more than the afterlife.' They are superstitious, believing in ghosts, spirits, and deities; they perform rituals, but when it comes to the future, they 'care more for their children than for their own souls.' While they 'value this world,' they do not 'fear death excessively.'

The Vietnamese, in their everyday life, have a 'low development of personal and property consciousness.' They see wealth and property 'as communal, wealth is temporary, and greed to acquire more cannot preserve or enjoy it.' Is this not clearly expressed in the following folk verse:

The King of Ngo had thirty-six gold coins,

But when he died, nothing could be taken to the underworld!

The Lord of Chorm drank wine endlessly,

When he died, what was different from King Ngo?

The Vietnamese people's aspirations are simple and charming. They 'desire peace, stability, and prosperity to live comfortably and leisurely, with many children and grandchildren,' seeking happiness in a practical, peaceful, and contented life, without aiming for anything extraordinary or higher than others. In society, the ideal person is one who is 'kind and compassionate.'

b. The Vietnamese ideal of heroism and intelligence also carries distinct cultural traits. They 'do not favor wisdom or bravery,' even though they have constantly fought against invaders, they 'do not glorify martial prowess.' The Vietnamese 'do not praise intelligence but value cunning'; they 'know how to maintain their position and navigate difficult situations'; they are 'not easily adaptable' to new or unusual ideas but 'do not reject them completely.' They 'accept' what is moderate and suitable for them, but are 'hesitant and cautious.' In the hearts and minds of the Vietnamese, deities and Buddhas exist, but immortals do not.

c. Regarding beauty, according to Tran Dinh Huu, the Vietnamese believe that 'true beauty is graceful and skillful'; they 'do not yearn for grandeur, splendor, or the mystical and magnificent'; in terms of colors, they prefer 'gentle, elegant tones' and dislike gaudy or garishness; in scale, they favor 'moderate, balanced proportions.' Their social behavior and interactions 'favor reason and harmony,' and their clothing, jewelry, and food 'do not lean towards extravagance.' In daily life, the Vietnamese aspire to beauty that is gentle, elegant, graceful, and of modest proportions.

As the author noted, the Vietnamese nation 'does not have monumental architectural works, even among the rulers aiming for eternity.' We lack grand structures like Cambodia's De Thien De Thich Temple, Egypt's towering pyramids, India's temples, or China's Great Wall. The Vietnamese value 'modesty over ostentation, and harmony over strict distinctions.'

These are expressions of the distinctive characteristics of Vietnamese culture, which has formed and developed over thousands of years of nation-building and defense. The agricultural economy (rice cultivation) forms the foundation of the Red River civilization, with more than 90% of the population engaged in farming. In the framework of 'the King's land, the village temple,' the social unit is the peasant household, and the organization of society is the village. The Vietnamese have always faced natural disasters and foreign invasions, so they emphasize 'reason over force,' and are deeply aware of 'their vulnerability and the many difficulties and uncertainties' in life, constantly overcoming and rising above them, showcasing a strong Vietnamese identity.

3. Regarding the cultural identity of Vietnam, Tran Dinh Huu wrote: 'The general spirit of Vietnamese culture is practical, flexible, and harmonious.' If we understand culture as 'the overall collection of material and spiritual values created by humans in the historical process,' then we can see that this assessment is accurate in relation to the realities of our lives and history. The Vietnamese people are very practical, seeking 'peace, stability, and prosperity to live well, with a focus on modesty, durability, and simplicity'; they value 'practicality over complexity' and 'cleverness' to handle difficult situations. To build a 'humanistic foundation,' the Vietnamese know how to 'eliminate' the coarse and violent aspects of life to live with culture and develop Vietnamese civilization.

Flexibility and harmony are also core aspects of Vietnamese culture. Vietnamese culture is deeply influenced by Eastern philosophy. The Vietnamese have integrated 'their own heritage' with the treasures of Buddhism and Confucianism, 'filtering and refining' these influences to form their unique cultural identity. Almost every village has a pagoda and a Buddha statue, but the Vietnamese 'do not embrace' Buddhism's intellectual pursuit of enlightenment, nor do they fully accept Confucianism's rigid and ritualistic teachings. Taoism 'seems to have little influence' on Vietnamese culture.

This flexibility and harmony demonstrate the 'ability to assimilate and adapt external cultural values,' proving convincingly that 'the Vietnamese people have resilience.' Even in writing, from Chinese characters to Nom script and then the modern Vietnamese alphabet, we can clearly see the flexibility and resilience of the Vietnamese people.

4. Reading Tran Dinh Huu's article 'Looking at the Cultural Heritage of the Nation,' we gain a deeper understanding of the beauty of Vietnamese culture, the soul, and character of the Vietnamese people, as well as the limitations and shortcomings shaped by historical circumstances. Our people have been and continue to work hard to build a prosperous nation, 'developing and promoting a modern Vietnamese culture, rich in national identity.' Every Vietnamese citizen, especially the younger generation, should strive to excel in studies, work diligently, and live beautifully and cultured lives.

Every ethnic group presents a unique cultural beauty, and in this piece, Tran Dinh Huu delves into various aspects of culture, touching upon religion, art, social behavior, and daily life. The author explores familiar aspects of every nation and people, where individuals express their way of life, customs, and interactions within a community. Through his creativity, the author highlights distinctive traits by providing examples from historical landmarks, such as the One-Pillar Pagoda, tombs, and other architectural sites, each linked to specific historical events.

Cultural identity is not only expressed through artistic works but also through communication, customs, and social etiquette. Many Vietnamese proverbs reflect the importance of everyday speech, such as 'A wise bird sings a calm song / A wise person speaks kindly and gracefully' or 'Words are free, choose them wisely to make others feel good.'

Every cultural artifact represents the unique characteristics of a nation or people, profoundly reflecting the lifestyle of various communities. These grand architectural works allow people to express their spiritual essence. Every nation, every ethnicity, has diverse cultural elements, which can be good or bad, strongly influencing the traditions of different countries and regions. We must embrace cultures in a healthy way and reflect the unique cultural traits of our regions and people.

The spirit of culture is shown in the beauty of regional, organizational, or national systems. We continually strive to improve and foster creativity for the advancement of our communities. Each nation and ethnic group has undergone a process of cultural assimilation, which opens up new cultural expressions, creating a distinct identity for each country or ethnic group.

Each region represents its own cultural identity, and therefore, our people must promote, enhance, and develop traditional culture, upholding beautiful cultural values that have profound meaning for each individual. Traditional cultural values reflect the heroic moments in our history, and each nation and people carries its own distinct cultural traits. This reflects the historical value, traditional culture, and the monumental historical sites of a nation.

Culture reflects the lifestyle of a nation or people. Through the cultural features of each region, the national culture is formed. It encompasses traditions, religions, and architectural works. The author discusses culture from many aspects, including history, ethics, lifestyle, and the unique essence of each ethnic group.

The cultural heritage of each nation and people is abundant, reflecting issues related to the people and the era. It fosters a shared lifestyle, values, and ethics regarding historical matters. Every issue is expressed through the unique and refined characteristics of that particular region's culture.

We can see that Tran Dinh Huu's work discusses the cultural life of each nation and people, reflecting their distinct culture, lifestyle, and history, offering a fresh perspective on the cultural identity of different regions and countries.

Trần Đình Hượu is an expert in Vietnamese cultural and ideological issues. He has conducted extensive research on cultural thought with significant works such as 'From Tradition to Modernity' (1994) and 'Confucianism and Vietnamese Literature in the Modern Era' (1995). 'Reflecting on National Cultural Heritage' is an excerpt from his 1986 essay 'On the Issue of Identifying National Characteristics.' In this work, the author avoids the typical tendencies of either glorifying or criticizing; instead, the article presents a scientific analysis of key issues in Vietnamese culture.

The author begins by addressing the concept of cultural heritage. We often refer to aspects like culinary culture or reading culture. But what is culture? According to the author, culture encompasses the material and spiritual values that humans create over history. This is a fundamental definition of culture in the Vietnamese dictionary.

Building upon this definition, Trần Đình Hượu offers a general observation about Vietnamese culture: 'We cannot boast of a culture that is grand, offers great contributions to humanity, or possesses distinctive features.' He goes on to analyze the characteristics of Vietnamese cultural heritage through various aspects of daily life, both material and spiritual. The author examines Vietnamese cultural heritage through fields like religion, art, architecture, painting, and literature.

Regarding religion, the author notes that the Vietnamese are not fanatical or extremist but seek harmony, avoiding the pursuit of transcendence through religion. Vietnam, a nation with a long cultural history, has always welcomed and selectively adopted foreign cultural influences to enrich its own heritage, contributing to the unique identity of the Vietnamese people. In terms of science and technology, no field has developed into a revered tradition. In music and painting, there is no perfected form of art. No culture from any nation has ever created monumental structures like China's Great Wall or Egypt's pyramids. In poetry, Trần Đình Hượu highlights that 'the most developed art form is poetry.' Most people can write a few lines of poetry, and poetry occupies a significant place in Vietnam’s traditional literary heritage. However, the author also points out that 'there are not many poets who have left a substantial body of work,' which sparked debates, as Vietnam has produced many great poets such as Nguyễn Du, Nguyễn Khuyến, and Nguyễn Bỉnh Khiêm, whose works are celebrated worldwide.

While recognizing the strengths of Vietnamese culture, Trần Đình Hượu also identifies its weaknesses. He attributes the limitations of Vietnamese culture to its agrarian roots: 'Agrarian societies are more prone to instability.' Furthermore, Vietnam’s small size and limited resources have fostered a preference for modesty, and the country has suffered significant losses from wars and foreign invasions. As a result, the aspirations of the people have been simple—peaceful living, escaping poverty, and not focusing on rapid development. The author presents a comprehensive view of culture, basing his research on objective, real-world observations rather than 'a priori knowledge.'

According to Trần Đình Hượu, the Vietnamese worldview and their concept of beauty are unique aspects of their culture. In interactions, the Vietnamese value relationships and affection over intellectual prowess or sharpness. They prefer a peaceful, stable life and are content with modest wealth, viewing wealth as temporary and not worth competing for. In daily life, they value moderation and balance, wishing for peace and prosperity. The Vietnamese concept of beauty is characterized by simplicity and elegance. They are not enamored with grandeur or ostentation and prefer gentle, refined colors. Clothing and food are also modest, avoiding extravagance. As the author notes, Vietnam lacks monumental architectural works like those of China or Egypt. Historically, Vietnam has never constructed buildings meant for eternity. However, the essence of Vietnamese culture lies in creating a practical, stable, and healthy life, exemplified by symbols such as the One Pillar Pagoda, simple yet majestic, and the tombs of the Nguyễn kings, along with the everyday sayings and proverbs of the people.

'A wise bird sings with a gentle tone, / A wise person speaks with a soft, pleasant voice.'

Or:

'A greeting is worth more than a feast.'

The author also identifies two religions that deeply influenced Vietnamese culture: Buddhism and Confucianism. The Vietnamese have embraced the philosophical teachings of these religions but not their extreme or rigid aspects. Buddhism was accepted not for intellectual escape or transcendence but for its moral teachings. Confucianism was adopted not in its ritualistic form but for the ethical, harmonious principles it offered. These teachings are reflected in many Vietnamese poems, such as:

'The essence of humanity lies in the peace of the people, / The ruler must punish injustice and eliminate tyranny.'

Trần Đình Hượu argues that 'the spirit of Vietnamese culture is practical and harmonious.' This statement highlights both the positive aspects and the limitations of Vietnamese culture. The practicality of cultural creation has deeply connected Vietnamese culture to everyday life, allowing for adaptability. The flexibility of Vietnamese culture is evident in its ability to absorb and adapt external cultural values, such as Buddhism, Confucianism, and Taoism, integrating them into local life. While the Vietnamese culture blends various influences, it often lacks the creative spark to produce truly grand achievements. Thus, it does not develop distinctive, exceptional cultural landmarks.

The author also emphasizes that 'the path to forming the national identity of Vietnamese culture does not solely rely on the creation of the culture itself but also on the ability to absorb and assimilate external cultural values.' Historically, the Vietnamese people have shown resilience in their ability to absorb foreign influences while maintaining their unique identity. Despite enduring colonial rule and oppression, the Vietnamese have managed to assimilate external ideas without losing their cultural core. For instance, the Vietnamese adopted Chinese characters to create their own script (Nôm) and created unique poetic forms that blend Chinese and Western styles. This ability to adapt and innovate according to their own cultural needs has allowed Vietnam to retain a distinct cultural identity.

The work presents a logical, systematic discussion of various aspects of Vietnamese culture, balanced with objectivity and humility, avoiding extreme viewpoints. It sheds light on the beauty of the Vietnamese people’s soul and character, shaped over generations, and reveals both the limitations and strengths that history has imparted. This serves as a foundation for us to reflect on how to develop a culture that is both progressive and deeply rooted in national identity. It also calls on each of us, especially the youth, to contribute to preserving and developing our cultural heritage in a way that aligns with the changing times.