Huế, the imperial capital of the Nguyễn dynasty (1802-1945), was the centre of power of Đại Nam, the territory that forms modern-day Vietnam. Following the French conquest of the Indochinese peninsula in 1883, the Treaty of Huế placed the empire of Đại Nam (subsequently renamed Annam) under indirect French administration. The monarchy was preserved but without any real power. The Emperor and his court fascinated the French, inspiring a wealth of paintings, photographs, postcards, and advertising illustrations depicting the imperial court and rituals of Huế in various forms. These images circulated widely, both in France and the colony, creating a paradox; it highlighted the grandeur of the monarchy while the institution itself was gradually being stripped of all authority. The imperial examinations, a pillar of the administrative structure, were abolished in 1919 and by 1925 political power had been transferred to the Resident-Superior of Annam.

This presentation brings together works from the museum's collection, created by both French and Vietnamese artists in the late 19^th and early 20^th centuries. Rather than contrasting them, it explores the colonial context in which they were produced. Among French artists and patrons, it is often difficult to separate the admiration for royal ceremony from cultural appreciation, a taste for the picturesque, documentary intent or even propaganda. Meanwhile, Vietnamese artists working on commissions responded to the expectations of the colonisers but did not entirely submit to them, using such commissions to create hybrid forms that reflected their own vision. They reinterpreted their culture through new codes and customs, often in subtle dialogue with, or even subverting, colonial expectations. Therefore, the collection of works presented here is evidence of complex interactions. These works constituted a new visual culture, reflecting a context of domination and serving as a space for negotiation.