An Analysis of Youth and Floral Symbolism in Boi Tran's 'The Young Girl and the Flowers
Nguyen Trong Tao
Boi Tran, Ladies and Flowers
It was the waning days of the Year of the Monkey when I found myself once again at Minh Chau Gallery, tucked quietly at No. 7 Ly Dao Thanh, Hanoi. But this time, I wasn’t drawn there by the timeless allure of masterworks by Nguyen Phan Chanh, Bui Xuan Phai, Nguyen Tu Nghiem, or Nguyen Sang, whose canvases often grace these walls, nor simply to greet young Minh Chau, the gracious gallery owner and an old friend from Hue. I had come for something more tender: to witness the first unveiling of her mother’s paintings, freshly arrived from Hue, now breathing their quiet beauty before the discerning eyes of Hanoi’s art lovers.
The exhibition featured vibrantly colored flower arrangements, their fragrances still fresh, enhancing the ambiance of the art gallery. The space was abuzz with art enthusiasts, both local and international, who engaged in lively discussions about the exhibited works. The gallery's two floors were brimming with an array of artworks, their vivid hues captivating the attendees. Photographers documented these cherished moments as the paintings of women and floral motifs left a profound impression on the public.
I have known the artist of these paintings for an extended period, dating back to my time in Hue. During those years, Boi Tran emerged as one of the pioneering figures in Vietnamese art, inaugurating the first privately owned art gallery at the Saigon Morin Hotel, located near the picturesque Perfume River. The grand opening of the Boi Tran Art Gallery attracted significant attention, drawing artists from both Northern and Central Vietnam. Notably, Poet Nguyen Khoa Diem, Vietnam's Minister of Culture and Information, participated as the principal speaker and conducted the ribbon-cutting ceremony. The Minister's participation underscored the importance of the event, which played a crucial role in establishing the Vietnamese art market and emphasising the preservation of cultural heritage, including palaces, pagodas, temples, and tombs. Boi Tran's profound enthusiasm for art led her to pursue painting, guided by esteemed mentors such as Nguyen Trung, Truong Be, and Trinh Cong Son. These prominent instructors assisted her in creating artworks both at her residence and in her garden on Thien An Hill. The early paintings of Boi Tran, which were predominantly executed in oil and lacquer, bear a resemblance to Nguyen Trung's style. However, a closer examination reveals distinctive signs of femininity that characterise and elevate her work. Moreover, Boi Tran's paintings evoke a sense of nostalgia and elegance, particularly resonating with the audience's memories of the refined and graceful ladies of Hue. Her work uniquely stimulates and revives these sentiments, contributing to the rich tapestry of Vietnamese art and cultural heritage.
Boi Tran confided to me that she had not painted as prolifically as she did in the past two years. This surge in creative output was accompanied by profound personal grief. She endured the tragic loss of her beloved son, a young man who was not only handsome and kind but also dedicated and selfless. During his senior year at a university in America, he sacrificed his life to rescue friends caught in the Pacific Ocean, a heroic act that tragically led to his untimely death. In memory of her son, Boi Tran preserved a beautifully restored wooden house, crafted from the wood of jackfruit trees, where she dedicated a space for his commemoration. Situated nearby in a lovingly restored traditional setting, this area of remembrance was adorned with photographs of her son, family, nature, and friends. During a memorial service held in Hue, the absence of white roses in Hanoi, which had been sent to Hue for the grieving mother, highlighted the depth of her sorrow. Reflecting on this period, "Had I not painted,” she whispered, “I would not have survived.” Her works from this time capture a profound sense of mourning and introspection. The paintings depict women with large, contemplative eyes, either gazing into the distance or bowed in reverent prayer, echoing the artist's own grieving process. The twelve lacquer paintings, each measuring 60 x 120 cm, are embellished with silver and gold but eschew vibrant colours in favour of muted tones, such as the green moss of the citadel or the velvety brown of Thien An Hill. Only when a depiction of a baby boy appears does the colour palette brighten, symbolising her deep emotional connection and reminiscence of her son amidst the melancholic backdrop.
"Lady on the Peak of a Rock" immediately captured my attention. The figure depicted in the artwork, with her chin resting on her hands, which are themselves supported by her knees, gazes intently into the infinity beyond. This piece stands out from the other paintings of women in the gallery due to its distinctive composition. I later learned that this painting portrays Boi Tran's daughter, Minh Chau, seated by the sea in the United States while awaiting the recovery of her brother's body. This profound sorrow and emotional repression are evidently conveyed through Boi Tran's brushwork. Following this deeply personal depiction, Boi Tran created numerous paintings of flowers, with the "Queen of the Night" and lotus flowers being her favourites. Her approach to these subjects reflects her desire to capture fleeting moments of bloom and decay. Through her art, she expresses a yearning to preserve and nurture beauty. In her lotus paintings, one observes an intriguing evolution: the flowers sometimes resemble candles glowing on the lake's surface at night or are clustered like burning incense sticks. These floral representations convey a sense of the sacred, embodying Boi Tran's reverence for the ephemeral nature of beauty.
"Painters create not to communicate verbally, but to embrace silence," as noted by art critic Thai Ba Van. He further elaborated, "What we examine in a work of art is akin to the submerged portion of an iceberg that Hemingway once alluded to." I find myself in complete agreement with this perspective when analysing Boi Tran's paintings. Although these artworks often reveal their intrinsic beauty at first glance, they also invite deeper contemplation and reflection. The immediate impression I experience when observing Boi Tran's work is one of elegance, a translucence of colour and an innate purity in the depiction of form. This initial allure is accompanied by an intuitive charm that precedes both technical skill and artistic experience. Such a quality is inherent to the artist and essential for their craft, distinguishing true artistry from mere technique.
Earlier, I characterised Boi Tran as 'a Hue-Gifted-Female Artist', at a time when she had yet to showcase her paintings publicly. Despite her emerging prominence in the cultural scene of the ancient capital, she displayed remarkable adaptability and resilience. She was born in the Year of the Rooster, 1957, then married and raised her child single-handedly. She opened art galleries both in Hue and Hanoi on her own. She meticulously cultivated a cultural garden by the side of Thien An Hill, established the Bamboo and Rattan Handcraft Art Company, and organised a Culinary Fair that drew thousands of attendees last Christmas. Today, despite lacking formal academic credentials in art, Boi Tran has curated a distinguished art gallery in the heart of the capital city.
When I inquired, "Boi Tran, given your extensive work, do you ever feel exhausted?"
She responded with a gentle smile, "Yes... It is my nature; I have grown accustomed to finding joy in the midst of fatigue."
As I revisited her artworks featuring women and flowers, I realised the truth in her words. Through her dedicated and passionate work, she has discovered a profound sense of personal fulfilment and joy.
Perfume River Journal, No. 192, Published in February 2005
