‘Pho’ Phai and faux phais: The market for fakes and the appropriation of a Vietnamese national symbol

Abstract

When Hanoi's favorite painter Bui Xuan Phai died in 1988, he became a legend in Vietnamese art circles. He was known as much for his paintings of ‘Old’ Hanoi streets ‐ earning him the nickname of Pho'Phai or ‘street’ Phai‐ as for his frequent visits to the underground cafes where banned writers spent their evenings drinking and philosophizing. As the Vietnamese economy improved in the early 1990s, a clientele for his paintings began to develop among Westerners visiting Hanoi. Gradually, it became increasingly clear that most of the paintings on the market attributed to Phai were in fact forgeries. This article will discuss the expectations of Westerners and their interest in an ‘authentic’ Vietnamese painting and its contrast to Vietnamese visions of their city in decay. The article illustrates how opposite notions of ‘authenticity’ and history define the cultural production of taste and alter perceptions about art and the ‘Orient.’

Keywords:

• Forgeries
• Vietnam
• preservation
• cultural production
• Orientalism