Among the various genres of Vietnamese folk paintings, the "Rat Wedding" is a captivating subject, highly cherished by art enthusiasts. Not only does it feature distinctive imagery, but its content also sparks considerable debate. Beyond the irony of the story itself, the wit and cheerfulness of the rats in these paintings carry deeper messages about heritage, passed down through generations to come.
In the treasure trove of Vietnamese folk paintings, the most famous "Rat Wedding" comes from the Dong Ho folk tradition. However, this subject is not exclusive to Dong Ho woodcuts; it has also been created by artisans of the Hang Trong school. Moreover, there is not just one version but at least six different variations. According to many scholars studying folk paintings, Dong Ho's "Rat Wedding" was originally adapted from Chinese New Year paintings. In Chinese art, "Rat Wedding" also exists in hundreds of forms, from woodcuts and color paintings to hand-drawn works and paper-cut designs. These paintings are tied to the Chinese New Year tradition, illustrating tales like "the old rat marrying off his daughter to the cat" or "the old rat taking a wife." When the entire rat procession, blowing trumpets and beating drums, escorts the bride to the cat's doorstep, the cat devours them all in one gulp. Some paintings depict the cat feasting on the scattered rats right at the wedding, or the wedding gifts scattering in chaos as the cat appears. Yet, there are also paper-cut versions showing the rat procession proceeding grandly, with no cat or tribute scene in sight.
Dong Ho folk woodcut print
Hang Trong Rat Wedding
In Dong Ho and Hang Trong paintings, the "Rat Wedding" seems to unfold in a lively, festive manner. The upper scene shows four rats offering gifts like birds and fish to the cat, while the lower scene depicts the bride in a palanquin and the groom riding a horse, with flags and fans adding to the jubilant atmosphere. Among the six versions of the "Rat Wedding" paintings, all sharing an upper-lower composition, two main themes emerge. The first theme is a conventional wedding with a groom and bride. The second portrays the rat wedding alongside a "vinh quy" (triumphant return) ceremony, weaving in the story of a rat passing the imperial exams and returning to his village with honor. Thus, the content of these paintings differs somewhat from Chinese New Year art.
Modern researchers interpret these paintings as satirical social critiques. The rats offering gifts to the cat to secure a bride, or the triumphant return, are seen as mocking societal hierarchies. The cat represents oppressive rural tyrants, while the rats symbolize the oppressed poor. Though the paintings depict a joyful wedding scene, they are actually a critique of worldly ways and the feudal class of old.
Rat Wedding - Dong Ho painting
Rat Wedding - Hang Trong folk painting
However, if we delve deeper and set aside the modern interpretations that later generations impose on these paintings—about corrupt officials and exploitation—another story emerges. A story steeped in the spirit of Tet (Lunar New Year). It speaks of abundance, warmth, and happiness. The cat, satiated with tribute gifts of fish and birds, may even include the rats themselves bringing offerings. Meanwhile, the bustling wedding below radiates overflowing joy.
One detail not to be overlooked is the two rat musicians playing horns. A keen observer might notice these are funeral horns. Thus, the tribute offerings also symbolize sacrifice or self-offering. Could it be that the ancients' deeper intent was not merely to comment on worldly affairs, but through these rats and the cat, to convey messages about the cycle of life and death, the ebb and flow of the universe, and the eternal truths of human existence? The cat eating the rats and their tributes represents consumption and decay; the rat wedding symbolizes growth and renewal. Moreover, the eternal cat-and-mouse dynamic hints at symbiosis. These meanings would be lost if we only viewed the paintings as satire.
Similarly, if the "Rat Wedding" were merely a satirical piece, the Vietnamese people would not hold it in such high esteem during the most important time of the year—the start of all things. They look to other values that this zodiac animal brings. Beyond abundance and happiness, the rat wedding also emphasizes fertility and many descendants, drawing from the rat's prolific nature. A wedding marks the beginning of a story of many children and grandchildren.
In terms of composition, the painting is divided into two scenes—upper and lower. Yet, the arrangement of characters seems to open up a space far larger than what we observe. In the lower scene, two rats following the bride's palanquin look back, suggesting the procession extends far beyond the frame. In the upper scene, the last rat's tail curling over the painting's edge conveys the same idea.
Rat Wedding - Chinese folk painting
Additionally, the Chinese and Nom characters inscribed on the paintings add intriguing layers of meaning. A notable Hang Trong "Rat Wedding" bears the inscription: "Thử bối nghinh ngư chí chí chí/ Miêu nhi thủ lễ mưu mưu mưu," meaning "The old rat offers fish, chí chí chí/ The kitten accepts the gift, mưu mưu mưu." The words "mưu" (scheme) and "chí" (squeak) not only mimic the sounds of cats and rats but also hint at the old rat's cunning towards the kitten. In another "rat triumphant return" painting, the inscription before the cat reads: "Old cat turns into fox," warning the rats to beware. Despite the varied interpretations of these cat-and-rat paintings, one thing is clear: the wedding proceeds with great pomp and joy. The cat is happy, and so are the rats.
Painting: Rat triumphant return
Painting: Rat triumphant return
Comparing similar rat-themed paintings between Chinese New Year art and Dong Ho folk paintings reveals notable differences. In Chinese paintings, the rat wedding often conveys a sense of urgency, almost chaotic haste. In the upper scene, rats carrying tributes, though playing instruments festively, are depicted with their backs to the cat, in a fleeing posture. Some fall over in their rush. In the lower scene, the groom rat, holding a fan, appears relaxed, but his neck twists back in anxiety, urging the procession forward. All seem to charge ahead, hurrying along.
In contrast, the Dong Ho "Rat Wedding" is leisurely, graceful, and cheerfully bustling. The groom rides calmly on a horse, taking slow steps, with honor guards parading grandly. While Chinese New Year paintings emphasize the exorcism of the old year's troubles through the tale of the rat marrying off its daughter and the cat devouring the entire procession—clearing away the chaos of rats to welcome a fresh, auspicious year—Vietnamese paintings carry a more humanistic touch. The Vietnamese use the rat as a symbol of a prosperous, abundant new year, embedding in it philosophies of constancy and the cycle of life. The rat in Vietnamese folk art becomes a vessel for lively, layered meanings—both light and profound—entrusting the aspirations of our ancestors during that meaningful transitional moment.