Thuận Thiên – Như Hồng’s Design Philosophy
The Journey of Exploring the “Thuận Thiên” Philosophy: From Lý Dynasty Dragons to Metaphysics
Như Hồng’s philosophical journey began with a profound moment: as she copied the image of the dragon from the Lý Dynasty — a cultural symbol of Vietnam dating back to the 10th century. The Lý dragon, characterised by its simplicity yet majestic presence, is more than an artistic motif; it is a life force, a breath, a microcosmic order of the universe. Như Hồng realised that any deviation in the lines would disrupt its “order, dignity, and unique language”. The question “Why?” led her into deeper layers of philosophy and culture.
A Dragon, A Question, A Beginning
The Lý Dynasty was a golden era for Buddhism in Đại Việt, especially with the flourishing of the Tì Ni Đa Lưu Chi Zen school — a tradition that emphasises intuitive enlightenment, simplicity, and harmony with nature. The thoughts of this Zen school, focusing on the primordial nature of the mind and its union with the cosmos, became a key for Như Hồng to better understand the Lý dragon. To her, its graceful yet powerful form embodies the spirit of Zen: unpretentious, unexaggerated, yet containing a metaphysical order — a harmony that reflects the unity between humans, nature, and the cosmos.
From this Zen foundation, Như Hồng turned to Platonic philosophy and immediately recognised the parallels. Plato, in his theory of Forms, suggests that the material world is but a shadow of an ideal realm, where perfect forms — such as beauty and goodness — exist. In Như Hồng’s eyes, the Lý dragon is not merely an image, but a reflection of one such ideal Form: its simplicity is its perfection, its expression of cosmic order akin to Plato’s ideal world. Her understanding of Zen philosophy became a kind of “code” that enabled her to interpret and connect with other philosophical thought systems.
The Thuận Thiên Philosophy: The Connection Between the Metaphysical and the Invisible
Như Hồng’s “Thuận Thiên” philosophy, through this journey, is not simply a call to live in harmony with nature in the ordinary sense (such as environmental respect), but a deeper attunement to the invisible vibrations of the universe — a profound metaphysical concept. She believes that every action, every existence in the material world, produces invisible movements, opening up parallel abstract realms that constantly shift and evolve. For instance, when a woman walks in a traditional four-part dress (áo tứ thân), the space behind her footsteps is not merely a physical void, but a portal to metaphysical realities, where countless other worlds exist, intertwine, and are influenced by that very movement.
This perspective resonates with the metaphysics of Henri Bergson, who emphasised that reality is a continuous flow of time and motion (la durée). Bergson argued that we tend to perceive reality through static concepts, yet the essence of life is unceasing movement, accessible only through intuition. In Như Hồng’s art, this invisible movement is expressed through forms and colours that do not remain still — they seem to “flow”, like a cosmic river, reflecting reality’s pulse in Bergson’s terms.
The spirit of Japanese sumi-e painting is also present in Như Hồng’s Thuận Thiên philosophy. In sumi-e, emptiness holds infinite creative potential — it is the space where the viewer feels the invisible. Như Hồng adopts this view in both art and life: emptiness is not absence but the realm where metaphysical worlds operate and grow. Lastly, Masaru Emoto’s discoveries on water crystals — how water reacts to vibrations of thought and emotion — reinforce Như Hồng’s belief that each invisible vibration has the power to form new realities. Each of her works, whether painting or design, is a “crystal of art” — a place where the vibrations of Vietnamese culture and Thuận Thiên philosophy crystallise.
Thuận Thiên Philosophy and Vietnamese Culture: A Connection Between Past and Future
Như Hồng’s “Thuận Thiên” philosophy is not only metaphysical; it is a deeply rooted cultural connection with Vietnam. Through the Lý dragon, she sees that Vietnamese culture, though often understated, holds a metaphysical order — a harmony between human, nature, and cosmos, true to the spirit of the Tì Ni Đa Lưu Chi Zen school. In her art, Như Hồng reimagines Vietnamese culture through abstract forms and colour fields that evoke the memory of forests, rivers, and fields — yet seen through a contemporary lens. This is her way of honouring the past without letting it fade, while also bringing it vividly into the modern world.
Discover the Spirit of “Thuận Thiên”
Enter a world where art becomes a vessel of invisible vibrations, and each design reflects the harmony between human, nature, and the cosmos.
Through Như Hồng’s “Thuận Thiên” philosophy, your space is no longer just a place — it is a living story of cultural memory and metaphysical beauty..
Visit nhuhongart.com to explore collections where Vietnamese heritage, Zen spirit, and Platonic ideals converge.
Are you ready to awaken your space with timeless resonance and poetic order?
