Emeritus University Professor Vinh Tuong’s Letter: “Madame Boi Tran’s Artistry and Brilliance Bequeathed to us a Respect and Precious Memory that Lasts for Good”

Emeritus University Professor Vinh Tuong’s Letter: “Madame Boi Tran’s Artistry and Brilliance Bequeathed to us a Respect and Precious Memory that Lasts for Good”

Paris, 20 May 2013

Respected Madame,

On the occasion of ‘the Delegation’ from Europe travelling to Hue to attend to the funeral of my brother Vinh Am, my younger sister Trang Nha and my nephew Bao Hai advised us that a celebrated artist, well-known locally and internationally, invited us to her garden for a fine dining.

Paris, hôm 20 tháng 5 năm 2013

Thưa bà,

Trong lúc “phái đoàn” ở Âu Châu về Huế dự đám tang của em lôi Vĩnh Am, em gái tôi Trang Nhã và cháu Bảo Hài báo cho chúng tôi rằng một bà hoạ sĩ nổi tiếng ở Việt Nam và ngoại quốc sẽ mời chúng tôi đến nhà bà ở trên đồi Thiên An dùng cơm buổi tối.

For the first time visiting your art gallery as well as residence, I was privileged with astonishment.

Tôi rất ngạc nhiên lần đầu đến nhà của bà và đã hân hạnh được đến xem phòng triển lãm và biệt thự của bà.

Everyone in the delegation contemplated all your works of art, knowing and acknowledging that you have built up an enviable reputation in Vietnam and overseas, especially Hong Kong and America. We were welcomed to a well-prepared and exquisite banquet.

Ai nấy trong phái đoàn đều xem các bức tranh vẽ của bà và nhận thấy là bà đã có danh tiếng không những ở Việt Nam mà ở ngoại quốc, Hồng Kông và Mỹ quốc. Chúng tôi được mời dự một buổi tiệc tổ chức chu đáo và hoàn mỹ.

After the culinary experience, we had a chance to see you again. Yet, we, all without exception, landed in an embarrassing situation to express our gratitude for your good intentions, generous kindness and hospitality to host us thoughtfully, elegantly, and cordially. Despite the fleeting time available, everyone, mainly I, couldn’t know how to express our appreciation correctly to you.

Sau buổi tiệc, chúng tôi đã gặp lại bà. Song ai nấy đều lúng túng vì không biết cảm ơn bà đã có nhã ý và thịnh tình mời đón chúng tôi một cách chu đáo, sang trộng và nồng hậu. Song thời gian ngắn ngủi, ai nấy nhất là tôi, không kiếm ra lời để cảm ơn bà.

Coming back to Paris, I always reminisce about that day. What a phenomenal night! What an unusual occasion! What a once-in-a-lifetime chance!

Sau khi trở về Pháp, tôi vẫn nhớ đêm ấy. Thật là một đêm độc nhất, một dịp hiếm có một cơ hội chỉ xảy ra một lần trong một đời người.

Please accept our gratefulness for your kindness and generous hospitality.

Returning to Paris, I remembered your paintings, and if I am not mistaken, they reminded me of Symbolism (Symbolisme), an early 20th-century art movement in Europe, notably France. This art movement exerts a significant influence on literature (movement symbolique including Baudelaire, Rimbaud, Verlaine,…)-however, hardly any in Europe recognized that impact; little did people know that symbolism in France (notably artist Odilon Redon, Maurice Deniss, etc…), even with its interconnection. If my memory serves me right, your artworks are under significant and profound influences of Symbolism. It became fully aware as a fact in Vietnamese art before 1945.

Xin phép bà là cho tôi cảm ơn thịnh tình và đối đãi chung tối như thế.

Khi tôi về Pháp, tôi nhớ lại những tranh vẽ của bà và, nếu tôi không lầm, tôi nhớ đến xu hướng “tượng trưng” (symbolisme) trong phong trào mỹ thuật ở Âu Châu vào đầu thế kỷ 20 nhất là ở Pháp. Phong trào ấy có ảnh hưởng đến văn chương (movement symbolique có Baudelaire, Rimbaud, Verlaine,…) Song ít người, bên Âu Châu, nhận thấy ảnh hưởng ấy và phong trào tượng trưng ở Pháp (có hoạ sĩ Odilon Redon, Maurice Denis, vân vân) tuy có liên can với nhau song ít ai nhận thấy việc này. Nếu tôi không lầm, xem các bức tranh vẽ của bà tôi thấy có liên can rất rộng và mạnh với phong trào tượng trưng. Phong trào này đã nhận thấy rõ trong thế hệ hoạ sĩ Việt Nam trước 1945.

I take the liberty of gifting you a French Symbolism publication.

Artist Odilon Redon embarked on drawing onto a flat stone (lithographie) in black and then, little by little, applying pastel on canvas (toile).

I hope my interpretation has failed to misunderstood your intentions through your works presented at your place. Additionally, I present you my book in French regarding Han Mac Tu poems and hope to present it to the audiences who follow French symbolism (early 20th-century).

Tôi xin mạn phép biếu bà một cuốn sách về phong trào tượng trưng ở Pháp.

Hoạ sĩ Odilon Redon bắt đầu dùng chì vẽ vào đá (lithographie) màu đen rồi dần dần dùng màu: pastel và trên vải (toile)

Mong là tôi không hiểu lầm những ý chí của bà qua tranh vẽ bà đã trưng bày ở nhà bà. Tôi xin biếu bà cuốn sách nhỏ của tôi viết bằng tiếng Pháp về nhà thơ Hàn Mặc Tử và muốn bày cho vài độc giả xu hướng tượng trưng ở Pháp lúc ấy (đầu thế kỷ 20)

Once again, on behalf of “the Delegation”, I extend my deep respect and appreciation for a unique opportunity to contemplate your works. Your artistry and great brilliance bequeathed to us a respect and and precious memory that lasts for good.

Respectfully,
Vinh Tuong
Emeritus University Professors

Một lần nữa thay mặt “phái đoàn” về Huế, tôi xin gởi lời cảm ơn bà đã cho chúng tôi một cơ hội độc nhất xem những bản vẽ của bà. Tài hoa và nhiều cảm hứng của khán giả xem tranh của bà đã để lại trong tâm trí của chúng tôi một kỷ niệm êm đẹp không bao giờ quên.

Kính thơ
Vĩnh Tường
Professeurs émérites des universités

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