Vietnamese traditional painting is influenced by China, with themes of mountains, waters, flowers, birds, and figures, and sculptures mainly featuring Buddhist statues and royal tomb decorations. At the end of the 19th century, French colonizers introduced Western culture and art systems, and Vietnamese art experienced the collision and integration of colonialism and homeland, opening up modern exploration. In 1925, the Indian ** Higher Fine Arts School was established in Hanoi to train Vietnamese painters based on the western art system and promote the modernization of Vietnamese art. The school was closed in 1945, but it played a crucial role in the emergence and development of modern art in Vietnam over the past two decades. The collision and integration of knowledge in the field of art with local knowledge gave rise to the power of localized art knowledge. At the beginning of the 20th century, the Vietnamese national liberation movement emerged, and modern art became a tool for expressing national consciousness and resisting colonial rule. The introduction of Western art has brought new forms of expression and techniques to Vietnamese art, inspiring artists to reflect on and explore their own cultural identity. Through historical archives, artists' biographies, works collections and other documents, this paper explores how the Indian ** Higher Fine Arts School promotes the modernization of Vietnamese art, and how to balance western art and Vietnamese local culture.

The establishment and development of higher art schools in **

This paper introduces the establishment and development of the Higher Fine Arts School in **, which is the key hub of Vietnam's art modernization. The school was established in collaboration between the French colonial government and Vietnamese artists to promote French culture and art. The development of schools has gone through different stages, from cultivating students' Western art techniques to developing applied art, and then to scaffolding art. Vietnamese artists have enhanced their domestic and international influence by participating in the international art market. After 1945, different styles of art emerged in the north and south of Vietnam. The school underwent name changes and eventually became Vietnam National University of Fine Arts. Under the background of reform and opening up, Vietnamese art has become more closely connected with the world, and its artistic styles tend to be diverse and varied.

2. Teaching objectives and curriculum of Indian ** Higher Fine Arts School

The Higher Fine Arts School of **, India, has played an enlightening and founding role in the modernization of Vietnam's fine arts. It selects students who master western painting knowledge and skills through enrollment examinations, and attaches importance to basic skills such as sketch, sketch and perspective. The school adopts French teaching and encourages students to learn French culture. The training mode is divided into five years, with the first three years being basic teaching and the second two years being professional training, covering subjects such as sketching, anatomy, perspective, etc., emphasizing observation methods and expression techniques. The school has cultivated a large number of outstanding art talents, promoted the collision and integration of Eastern and Western cultures, and formed Vietnamese ethnic art with ethnic characteristics.

3. An important figure between the establishment and development of the Higher Fine Arts School in **

This paper introduces the founding background and important figures of the Higher Fine Arts School in **. Victor Tadieu, a Frenchman, and Nguyen Nam Son, a Vietnamese, jointly founded the school. Tadieu tried to transplant the model of the Paris Academy of Fine Arts to the colonies, but deliberately retained the oriental flavor in the curriculum. Ruan Nanshan advocates the revival of tradition through modern technology, reflecting the independent demand of Vietnamese intellectuals for modernization. Although the school has a colonial color, objectively it has promoted the development of modern art in Vietnam. Under the guidance of French and Vietnamese teachers, local students actively pay attention to Vietnamese artistic traditions and local materials, integrate Eastern and Western art techniques, and promote the exploration of Vietnamese ethnic media art creation. Tadiu and Angubodi have a deep interest in traditional Vietnamese art and encourage students to study it. Angubodi supported the establishment of the Lacquer Painting Department. In 1930, the Lacquer Painting Department was founded, and in 1937, the Lacquer Research Studio was established. The emergence of schools intensified the impact and integration of colonialism and homeland, promoting the modernization process of Vietnamese art. Schools are not only a product of the mission of French civilization, but also a result of the active participation of local Vietnamese elites, becoming a battleground for cultural discourse.

4. The Influence of Indian ** Higher Fine Arts School on the Modernization of Vietnamese Fine Arts

The Higher Fine Arts School of **, India, has played a key role in the modernization of Vietnamese fine arts. Through the integration of European academies and Vietnamese traditional crafts, it has cultivated students' ability to find a balance between the two aesthetic systems. The school curriculum has strengthened realism training and relied on local craftsmen to impart techniques, forming a "binary structure" of techniques and materials, themes and styles, and cultural identity. In terms of techniques and material innovation, teachers and students actively explore the integration of local materials and Western painting techniques, developing modern art forms such as lacquer painting and silk painting. The modernization transformation of lacquer painting is based on the innovation of techniques and materials, using lacquer as a pigment, layering and polishing, creating works with bright and deep tones and strong three-dimensional sense. In terms of theme and style, the school emphasizes the combination of western art aesthetics and local culture, and students' works show the integration of impressionism, romanticism and Vietnamese local customs, such as Chen Wenjin's "Bailing Water" and Ruan Wensi's "Thatched Cottage and jackfruit Tree". In terms of exploring cultural identity, artists seek the uniqueness of Vietnamese culture under the influence of Western art, expressing cultural pride and national identity through paintings, promoting the awakening of national consciousness and modernization transformation, such as Ruan Panzheng's "Laundry Woman". During this period, Vietnamese artists attempted to bind art with politics, promote the spirit of nationalism, and construct the uniqueness, continuity, and legitimacy of Vietnamese national culture.

5 Historical Significance and Limitations of the Higher Fine Arts School in **

The Higher Fine Arts School of **, India, played a key role in the modernization of Vietnam's fine arts, systematically introduced modern art education for the first time, and cultivated local artists with modern art vision. The school has a colonial color, transforming lacquer art into pure art through technological detachment, while promoting the integration of Eastern and Western aesthetics. In the process of modernizing Vietnamese art, the reflection and awakening of cultural and ethnic identity have been stimulated, demonstrating the learning and resistance to colonial culture. This process transcends the binary opposition between Europe and colonies, achieving the integration of local knowledge and the global system. Artists and audiences achieve a leap from the other to themselves through reflection, establishing a connection between aesthetics and politics, and integrating into nationalist movements.

6 Conclusion

The establishment and development of the Higher Fine Arts School in ** is an important milestone in the modernization of Vietnamese fine arts, which reflects the blending of colonial and local cultures. As a product of French colonial policy, schools provided a platform for the modernization of Vietnamese art, cultivating artists with both Western techniques and Eastern styles, and promoting the transformation of Vietnamese art from traditional handicrafts to modern art. The active exploration of the combination of local materials and Western techniques by school teachers and students has promoted the birth and development of modern Vietnamese art forms such as lacquer painting and silk painting. The transformation of themes and styles in Vietnamese art reflects the re examination and expression of local culture by Vietnamese artists, integrating Western Impressionism, Romanticism, and Vietnamese local customs, showcasing a unique Vietnamese aesthetic trend and cultural identity. This fusion enriched the forms of expression in Vietnamese art, stimulated the awakening of Vietnamese national consciousness, and became an important component of the Vietnamese nationalist movement. The Higher Fine Arts School in ** is not only the embodiment of France's "civilization mission", but also the field where Vietnamese local elites compete for cultural discourse; Being both a disseminator of colonial culture and a catalyst for the awakening of local culture; It has not only promoted the modernization transformation of Vietnamese art, but also stimulated Vietnamese artists to reflect on their cultural identity and awaken their national consciousness. Through the integration of colonization and local, the Indian ** Higher Fine Arts School has shaped the unique path of Vietnam's art modernization, and has found its unique position in the global modern art trend.