{"id":1020,"date":"2007-10-18T16:05:00","date_gmt":"2007-10-18T16:05:00","guid":{"rendered":"https:\/\/boitran.com\/en\/?p=1020"},"modified":"2026-04-01T07:55:48","modified_gmt":"2026-04-01T07:55:48","slug":"boi-tran-and-the-sacred-trust-guarding-the-forgotten-sketches-of-bui-xuan-phai-and-a-generations-art","status":"publish","type":"post","link":"https:\/\/boitran.com\/vi\/boi-tran-and-the-sacred-trust-guarding-the-forgotten-sketches-of-bui-xuan-phai-and-a-generations-art\/","title":{"rendered":"B\u1ed9i Tr\u00e2n v\u00e0 U\u1ef7 Th\u00e1c Th\u1ea7m L\u1eb7ng: G\u00ecn Gi\u1eef Nh\u1eefng Ph\u00e1c Th\u1ea3o B\u1ecb L\u00e3ng Qu\u00ean c\u1ee7a B\u00f9i Xu\u00e2n Ph\u00e1i v\u00e0 M\u1ed9t Th\u1ebf H\u1ec7 Ngh\u1ec7 Thu\u1eadt"},"content":{"rendered":"

\n\t\t\tBoi Tran and the Sacred Trust: Guarding the Forgotten Sketches of Bui Xuan Phai and a Generation’s Art\t<\/h2>\n

\n\t\t\tH\u1ea3i Nguy\u1ec5n\t<\/h5>\n
\n\t\t\tGi\u00e1m \u0111\u1ed1c, S\u00e1ng ki\u1ebfn Nghi\u00ean c\u1ee9u Chi\u1ebfn tranh Vi\u1ec7t Nam To\u00e0n c\u1ea7u, Ash Center, Tr\u01b0\u1eddng Harvard Kennedy\t<\/h5>\n\t

Entrusted by artist Luu Ly, Boi Tran is called to a sacred task: to preserve the forgotten sketches of Bui Xuan Phai and the spirit of a generation who lived, dreamed, and created through war and silence. More than a keeper of drawings, she becomes the guardian of Vietnam’s artistic soul, where memory and destiny meet in every line.<\/p>\n\t\t\t\t\"Artist\n\t\tHo\u1ea1 s\u0129 B\u1ed9i Tr\u00e2n v\u00e0 ho\u1ea1 s\u0129 L\u01b0u Ly t\u1ea1i Nh\u00e0 V\u01b0\u1eddn B\u1ed9i Tr\u00e2n\n\t

T\u00f4i t\u00ecnh c\u1edd g\u1eb7p \u00f4ng trong m\u1ed9t chi\u1ec1u m\u01b0a r\u1eebng Thi\u00ean An m\u01b0\u1edbt xanh v\u01b0\u1eddn B\u1ed9i Tr\u00e2n Gallery x\u1ee9 Hu\u1ebf. Ng\u1ea1c nhi\u00ean khi nh\u00ecn th\u1ea5y, tr\u00ean g\u01b0\u01a1ng m\u1eb7t ph\u1ea3ng ph\u1ea5t n\u00e9t h\u00e0o hoa l\u1ea5m b\u1ee5i tr\u01b0\u1eddng chinh m\u1ed9t th\u1eddi kh\u00e1ng chi\u1ebfn, \u0111\u00f4i m\u1eaft kh\u00e9p m\u1edf nh\u00e2n gian g\u1ea7n 80 n\u0103m c\u1ee7a l\u00e3o h\u1ecda s\u1ef9 Luu Ly, v\u1eabn tinh anh nh\u1eefng s\u1eafc m\u00e0u k\u00fd \u1ee9c d\u1eady l\u00ean qua t\u1eebng trang gi\u1ea5y m\u1ecfng, \u1ed1 v\u00e0ng th\u1eddi gian. T\u1eadp gi\u1ea5y m\u1ecfng bristol, b\u00eca x\u00e1m m\u00f9n \u0111\u1ea5t, h\u01b0 hao \u1ea5y l\u00e0 m\u1ed9t b\u00e1u v\u1eadt c\u1ee7a l\u00e3o h\u1ecda s\u1ef9 Luu Ly b\u1edfi n\u00f3 \u00e2n t\u00ecnh bao nhi\u00eau ho\u00e0i ni\u1ec7m g\u1eafn li\u1ec1n v\u1edbi nh\u1eefng t\u00e1c ph\u1ea9m k\u00fd h\u1ecda c\u1ee7a c\u00e1c danh h\u1ecda, thu\u1edf h\u1ecd ch\u01b0a th\u00e0nh danh nh\u01b0ng l\u00f2ng d\u1ea1 \u0111\u00e3 giang h\u1ed3 v\u01b0\u1ee3t qua m\u1ecdi gian nan chi\u1ebfn tranh, m\u00e0 m\u01a1 m\u00e0ng m\u1ed9t c\u00f5i ph\u1ee5ng s\u1ef1 n\u00e0ng ngh\u1ec7 thu\u1eadt.<\/p>\n\t

3 B\u00fat Danh L\u1ea1 C\u1ee7a M\u1ed9t H\u1ecda S\u1ef9 T\u00e0i Danh<\/p>\n\t

G\u01b0\u01a1ng m\u1eb7t thanh t\u00fa. \u00d0\u00f4i m\u1eaft trong s\u00e1ng \u0111\u1ebfn \u0111\u1eafm \u0111u\u1ed1i. M\u00e1i t\u00f3c b\u1ed3ng b\u1ec1nh thi ca. \u00c1o len c\u1ed5 tr\u00e1i tim l\u00e3ng m\u1ea1n \u00f4m l\u1ea5y khu\u00f4n ng\u1ef1c trai tr\u1ebb. \u00d0\u00f3 l\u00e0 ch\u00e2n dung t\u1ef1 h\u1ecda c\u1ee7a SIPI v\u1ebd b\u1eb1ng b\u00fat s\u1eaft, m\u1ef1c t\u00e0u ng\u00e0y 12\/3\/48. B\u00ean g\u00f3c tr\u00e1i c\u00f3 l\u1eddi \u0111\u1ec1 t\u1eb7ng, n\u00e9t ch\u1eef n\u1ec1n n\u00e3 nh\u01b0 g\u01b0\u01a1ng m\u1eb7t, m\u00ea mu\u1ed9i r\u1eb1ng<\/p>\n

Th\u00e2n \u00e1i t\u1eb7ng anh Vi\u1ec7t H\u1ed3 t\u1ea5m tranh Sipi t\u1ef1 h\u1ecda, khi Sipi xa anh, anh ph\u1ea3i nh\u1edb \u0111\u1ebfn h\u1eafn, c\u1ea7u cho h\u1eafn lu\u00f4n lu\u00f4n m\u1ea1nh kh\u1ecfe \u0111\u1ec3 ph\u1ee5ng s\u1ef1 n\u00e0ng ngh\u1ec7 thu\u1eadt<\/p><\/blockquote>\n\t\t\t\t\"Bui\n\t\tBui Xuan Phai Self Portrayal, signed “Sipi” (lower right)\n\t

V\u00e0 \u0111\u00e2y n\u1eefa, d\u00f9 n\u00e9t ch\u1eef kh\u00f4ng c\u00f2n d\u00e1ng n\u1ec1n n\u00e3, nh\u01b0ng v\u1eabn giang h\u1ed3 m\u1ed9t b\u00fat ph\u00e1p l\u00e3ng m\u1ea1n trong s\u1eafc m\u00e0u t\u01b0 duy: SIPI t\u0129nh t\u1ecda, ch\u00e0ng \u0111ang m\u00e3i t\u00ecm m\u1ed9t l\u00fd thuy\u1ebft \u0111\u1ec3\u2026 Lang Bang! L\u1ea1i l\u00e0 Sipi! \u201cH\u1eafn\u201d ng\u1ed3i \u0111\u00f3 nh\u01b0 m\u1ed9t s\u1ef1 im l\u1eb7ng d\u1eef d\u1ed9i gi\u1eefa c\u00e1nh chim non m\u01a1 \u01b0\u1edbc h\u00f2a b\u00ecnh tr\u01b0\u1edbc m\u1eb7t, \u0111\u1ed1i ch\u1ecdi v\u1edbi b\u1ea7y m\u00e1y bay qu\u1ea7n \u0111\u1ea3o b\u1ea7u tr\u1eddi sau l\u01b0ng. \u00c1o kho\u00e1c l\u1ea1nh, qu\u1ea7n h\u1ed3ng \u0111\u1ecf nh\u01b0 m\u1ed9t ngh\u1ec7 s\u1ef9 ch\u00e8o, khu\u00f4n m\u1eb7t xa x\u0103m, c\u1ea3 th\u00e2n ng\u01b0\u1eddi r\u1ef1c v\u00e0ng \u00e1nh l\u1eeda, soi t\u00ecm m\u1ed9t m\u1ea3nh t\u01b0\u01a1ng lai n\u00e0o \u0111\u00f3 \u0111ang phi\u00eau d\u1ea1t. T\u1ef1 x\u01b0ng l\u00e0 SIPI nh\u01b0ng v\u1edbi b\u1ee9c ch\u00e2n dung n\u00e0y, \u201ch\u1eafn\u2019 l\u1ea1i k\u00fd l\u00e0 Lang Bang!<\/p>\n\t\t\t\t\"Bui\n\t\tBui Xuan Phai Self-Portrait, signed “Lang Bang” (middle right)\n\t

Then, another sketch, not a self-portrait this time, but a gentle rendering of Mr. Viet Ho’s kind face, framed beneath a noble, thoughtful brow. It was drawn in 1948 with coloured pencils by someone signed as Lang Thang. And yet, it was still him, “Sipi”, unmistakably so. The hand, the colours, distant yet sincere, carried a tenderness that could not be confused with anyone else!<\/p>\n\t

SIPI! Lang Bang! Lang Thang! Who was this young man who dared to declare his enchanted devotion to Lady Art in the midst of smoke and fire? Who was he, with that poet’s face of youth, standing tall in self-portrait upon delicate paper, over half a century gone, yet still shining with faith and silent prayers for the mind’s communion with art? So many upheavals have passed. So many fates lost to the tides of time. Is he now gone, scattered across the far edges of land and sea? And did he ever see that dream fulfilled to “serve” Art, and be blessed in return by “her” divine grace?<\/p>\n\t

L\u00e3o h\u1ecda s\u0129 L\u01b0u Ly nh\u00ecn th\u1ea5y \u00e1nh m\u1eaft t\u00f2 m\u00f2 c\u1ee7a t\u00f4i, t\u1eebng l\u1eddi gi\u1ea3i th\u00edch, nh\u01b0 h\u1ed3 l\u00e0 m\u01b0a t\u1eeb qu\u00e1 kh\u1ee9 kh\u1ebd kh\u00f3t qua r\u1eebng th\u00f4ng Thi\u00ean An.<\/p>\n

That one… or should we say, that Sipi, Lang Bang, Lang Thang, do you know who he was?<\/p>\n

He’s gone now. That young man… He was Ph\u00e1i. B\u00f9i Xu\u00e2n Ph\u00e1i.<\/p><\/blockquote>\n

T\u00f4i ng\u1eadp ng\u1eebng.<\/p>\n

B\u00f9i Xu\u00e2n Ph\u00e1i?<\/p><\/blockquote>\n

L\u00e3o tr\u1ea3 l\u1eddi:<\/p>\n

V\u00e2ng! Anh Ph\u00e1i v\u1ebd \u0111\u1ea5y!<\/p><\/blockquote>\n\t\t\t\t\"Viet\n\t\tCh\u00e2n dung Vi\u1ec7t H\u1ed3, k\u00fd ho\u1ea1 c\u1ee7a ho\u1ea1 s\u0129 T\u1ea1 T\u1ef5\n\t

C\u0169ng nh\u01b0 anh, 60 n\u0103m tr\u01b0\u1edbc t\u00f4i h\u1ecfi v\u00ec sao c\u00f3 SIPI, v\u00ec sao l\u1ea1i Lang Bang, Lang Thang. Anh Ph\u00e1i b\u1ea3o t\u00f4i<\/p>\n

Sipi l\u00e0 g\u1ecdi t\u1eaft c\u00e1i t\u00ean hi\u1ec7u m\u00e1y bay Speed Fire c\u1ee7a b\u1ecdn Ph\u00e1p. Tr\u00ean tr\u1eddi c\u00f3 Speed Fire r\u1ef1c l\u1eeda th\u00ec d\u01b0\u1edbi \u0111\u1ea5t Sipi Ph\u00e1i c\u0169ng ch\u00e1y b\u1ecfng kh\u00f4ng k\u00e9m!<\/p><\/blockquote>\n

C\u00f2n Lang Bang hay Lang Thang, l\u00e0 b\u1edfi nh\u1eefng th\u00e1ng n\u0103m \u0111\u1ea7u kh\u00e1ng chi\u1ebfn, anh Ph\u00e1i v\u00e0 ch\u00fang t\u00f4i nay \u0111\u00e2y mai \u0111\u00f3, lang thang qua nhi\u1ec1u v\u00f9ng \u0111\u1ea5t lang bang thu\u1ed9c chi\u1ebfn khu 3.<\/p>\n\t\t\t\t\"Musician\n\t\tNh\u1ea1c s\u0129 V\u0103n Cao v\u1edbi ba di\u1ec7n m\u1ea1o qua n\u00e9t v\u1ebd c\u1ee7a ho\u1ea1 s\u0129 B\u00f9i Xu\u00e2n Ph\u00e1i\n\t

Beyond the signed sketches, old painter Luu Ly also showed me works by Bui Xuan Phai, which bore no signature, intimate portraits of fellow artists: Hoang Lap Ngon, seated beside a humble caf\u00e9 called “B\u1ed3 C\u00e2u” (Dove Caf\u00e9); and Hoang Tich Chu, captured in quiet elegance. And then, most striking of all, a rare sketch of 3 faces of Van Cao. Van Cao, the composer of Vietnam’s national anthem, his image split into three states of being, each a phase of reincarnation across the surface of paper: Van Cao, contemplative and solemn. Van Cao, joyful, his eyes and lips blooming with melody. Van Cao, immersed in creation, lost in the act of composing.<\/p>\n\t

C\u00f3 l\u1ebd \u0111\u00e2y l\u00e0 m\u1ed9t trong nh\u1eefng b\u1ee9c k\u00fd h\u1ecda \u0111\u1eb7c bi\u1ec7t nh\u1ea5t v\u1ec1 m\u1ed9t nh\u1ea1c s\u0129 \u0111\u1eb7c bi\u1ec7t do m\u1ed9t h\u1ecda s\u0129 \u0111\u1eb7c bi\u1ec7t v\u1ebd! V\u00e0 \u0111\u1ed1i \u1ee9ng v\u1edbi 3 g\u01b0\u01a1ng m\u1eb7t c\u1ee7a V\u0103n Cao l\u00e0 3 khu\u00f4n m\u1eb7t c\u1ee7a Regnaut \u0111\u01b0\u1ee3c bi\u1ec3u hi\u1ec7n b\u1eb1ng 3\u2026 thi\u1ebfu n\u1eef kh\u1ecfa th\u00e2n trong m\u1ed9t b\u1ee9c tranh kh\u00e1c c\u1ee7a m\u1ed9t h\u1ecda s\u0129 theo tr\u01b0\u1eddng ph\u00e1i l\u1eadp th\u1ec3 - h\u1ecda s\u0129 T\u1ea1 T\u1ef5!<\/p>\n\t

Nh\u01b0 V\u1ec7t M\u00e1u G\u1eedi V\u00e0o T\u01b0\u01a1ng Lai<\/p>\n\t

According to old painter Luu Ly, after seeing Bui Xuan Phai’s sketch of three faces of Van Cao, painter Ta Ty immediately responded with a work of his own, a sketch of three faces of Regnaut, drawn as a gesture to his friend. The drawing, made in November 1948 with charcoal pencil, depicts the portraits of three women with full-bodied, Western features, standing side by side, arms entwined. In a time of war, under harsh discipline where everything served the front lines, the very act of drawing the nude female form was not only uncommon, it bordered on the audacious. And yet, amidst the fire and tension of wartime, art still dared to speak.<\/p>\n\t\t\t\t\"Viet\n\t\tPh\u00e1c th\u1ea3o Vi\u1ec7t H\u1ed3 b\u1edfi ho\u1ea1 s\u0129 T\u1ea1 T\u1ef5\n\t

Ngo\u00e0i tranh kh\u1ecfa th\u00e2n, T\u1ea1 T\u1ef5 c\u00f2n xu\u1ea5t hi\u1ec7n qua m\u1ed9t s\u1ed1 ch\u00e2n dung v\u1ebd \u00f4ng Vi\u1ec7t H\u1ed3 v\u00e0 h\u1ecda s\u0129 L\u01b0u Ly v\u1edbi nh\u1eefng g\u01b0\u01a1ng m\u1eb7t g\u00f3c c\u1ea1nh, tinh gi\u1ea3n, h\u00e0m ch\u1ee9a nhi\u1ec1u \u0111i\u1ec3m nh\u00ecn c\u1ee7a m\u1ed9t m\u00f4n \u0111\u1ec7 c\u1ee7a tr\u01b0\u1eddng ph\u00e1i l\u1eadp th\u1ec3.<\/p>\n\t

G\u00f3p m\u1eb7t trong t\u1eadp k\u00fd h\u1ecda n\u00e0y, nh\u1ea1c s\u0129 V\u0103n Cao c\u0169ng c\u00f3 m\u1ed9t b\u1ee9c ch\u00e2n dung k\u00fd h\u1ecda \u00f4ng Vi\u1ec7t H\u1ed3 t\u1ea1i ph\u1ed1 Me tr\u00ean \u0111\u01b0\u1eddng l\u00ean Tam \u0110\u1ea3o v\u1edbi n\u00e9t b\u00fat g\u1ed3 gh\u1ec1, gai g\u00f3c b\u1eb1ng m\u1ef1c xanh ph\u1ea3n \u00e1nh h\u00ecnh \u1ea3nh v\u00e0 t\u00e2m tr\u1ea1ng c\u1ee7a m\u1ed9t ng\u01b0\u1eddi l\u00ednh ngh\u1ec7 s\u0129 trong ho\u00e0n c\u1ea3nh kh\u00e1ng chi\u1ebfn. K\u00fd h\u1ecda v\u1ec1 \u00f4ng Vi\u1ec7t H\u1ed3, c\u00f2n m\u1ed9t t\u00e1c ph\u1ea9m r\u1ea5t ch\u00e2n ph\u01b0\u01a1ng, nh\u01b0 ch\u1ee5p \u1ea3nh ch\u00e2n dung c\u1ee7a h\u1ecda s\u1ef9 T\u00f4 Ng\u1ecdc V\u00e2n th\u1ef1c hi\u1ec7n t\u1ea1i L\u1ed7 T\u1eeb n\u0103m 1947.<\/p>\n\t

Alongside the master painters To Ngoc Van, Bui Xuan Phai, and Ta Ty, the sketch collection preserved by old painter Luu Ly also includes works by Le Quoc Lap, Luu Ly himself, and an artist who signed simply as Kh\u00f4i. In those days, artists like Bui Xuan Phai, Ta Ty, To Ngoc Van, and Van Cao were just barely thirty, names not yet known, achievements not yet secured. And yet, with an unshakable passion for art, they created sketches filled with inner turmoil and creative boldness, testaments to the free spirit of the artist. Sketching, like the short story, distils moments of lyrical intensity, brief flashes of emotion. In those flashes, the painter catches hold of a living presence and freely renders it, capturing not only the figure but also the soul of the subject, in quiet communion with the artist’s own inner world.<\/p>\n\t\t\t\t\"A\n\t\tCh\u00e2n dung L\u01b0u Ly, k\u00fd ho\u1ea1 b\u1edfi ho\u1ea1 s\u0129 L\u00ea Qu\u1ed1c L\u1eadp\n\t

Tinh th\u1ea7n ph\u1ea3n kh\u00e1ng chi\u1ebfn tranh, \u0111au \u0111\u1edbn tr\u01b0\u1edbc chi\u1ebfn tranh, v\u00e0 l\u00e3ng m\u1ea1n t\u00ecnh y\u00eau cu\u1ed9c s\u1ed1ng, kh\u00f4ng ch\u1ec9 ph\u1ea3n \u00e1nh qua k\u00fd h\u1ecda, m\u00e0 c\u00f2n day d\u1ee9t m\u1ea5y v\u1ea7n th\u01a1 \u0111\u01b0\u1ee3c (h\u00ecnh nh\u01b0 l\u00e0 h\u1ecda s\u1ef9 t\u00ean Kh\u00f4i) l\u01b0u b\u00fat nh\u01b0 nh\u1eefng v\u1ec7t m\u00e1u ch\u1eb3ng bao gi\u1edd ngu\u00f4i ngoai \u00e1nh l\u1eeda bu\u1ed3n n\u0103m th\u00e1ng.<\/p>\n\t

M\u1ed9t v\u00e0i v\u1ec7t \u0111\u1ecf m\u00e1u
\nsoak this page-sent to whom?
\nhi\u1ec7n t\u1ea1i \u0111ang chi\u1ebfn \u0111\u1ea5u
\nhay g\u1eedi v\u1ec1 t\u01b0\u01a1ng lai
\n…
\nVictory-for whom is it won?
\nT\u01b0\u01a1ng lai \u01a1i! T\u01b0\u01a1ng lai
\n\u0111\u1ebfm xem: bao gi\u1ecdt m\u00e1u
\nspilled across tomorrow’s sky.\n

Kh\u00f4i, r\u00fat trong t\u1eadp \u00d0\u1ecf M\u00e1u 24\/7\/1950<\/p><\/blockquote>\n\t

I was quietly moved and deeply grateful for the noble spirits, the quietly fierce corners of blood and tears that defined the artists of the pre-war generation. These drifting verses, these wandering sketches, so raw, so intimate, had they fallen into the hands of someone lacking empathy, without the heart to understand, they might well have ignited a so-called “literary scandal” in those years when, as Quang Dung so bravely wrote in T\u00e2y Ti\u1ebfn:<\/p>\n

R\u1ea3i r\u00e1c bi\u00ean c\u01b0\u01a1ng m\u1ed3 vi\u1ec5n x\u1ee9
\nOff to the battlefield, they marched-never once regretting their youth.<\/blockquote>\n\t

S\u1ef1 Ra \u00d0\u1eddi V\u00e0 N\u01a1i Tr\u1edf V\u1ec1 C\u1ee7a T\u1eadp K\u00fd H\u1ecda<\/p>\n\t

The figure known as Viet Ho, featured in many of the sketches, was in fact Tran Van Minh, head of the People’s Theatre Troupe under the Department of Popular Education, and eldest brother of painter Luu Ly. On the day he left H\u00e0 N\u1ed9i to follow the itinerant path of his elder brother’s theatre troupe, Luu Ly was given a parting gift by their father, a painter himself. It was a notebook of Bristol paper, bound in stiff grey cardboard, the colour of earth and time. That notebook, instead of being used as a diary, gradually became a shared sketchbook, an intimate journal of images. Within its pages, artists from the troupe, Bui Xuan Phai, Ta Ty, and others, left their marks: visions of emotion, fragments of thought, quiet bursts of artistic spirit drawn in passing, yet enduring.<\/p>\n\t\t\t\t\"Coffee\n\t\tCoffee Owner – artist Hoang Lap Ngon by artist Bui Xuan Phai\n\t

Knowing Luu Ly’s deep love for painting, one autumn moonlit night in the village of \u0110\u00e0o X\u00e1, painter Bui Xuan Phai invited him to walk along the banks of the \u0110\u00e1y River to the hamlet of Ph\u00f9 L\u01b0u Chanh, where a Fall-Winter painting class of 1949 was being held. The class consisted of around 30 students, taught in an intensive format by master painters Luong Xuan Nhi, Ta Ty, and Bui Xuan Phai, artists who would later become pillars of modern Vietnamese art. Though the course lasted only three months, its impact was lasting. Its value lay not in its length, but in the dedication of the students and the brilliance of the teachers, who passed on not just technique, but also a spirit of artistic conviction.<\/p>\n\t

L\u00e3o h\u1ecda s\u1ef9 Luu Ly nhung nh\u1edb:<\/p>\n

T\u00f4i nh\u1edb anh Ph\u00e1i v\u1ebd ch\u00e2n dung t\u1ef1 h\u1ecda trong m\u1ed9t chi\u1ec1u m\u01b0a \u1edf l\u00e0ng \u00d0\u00e0o X\u00e1, ch\u1ee3 \u00d0\u1ea1i g\u1ea7n ch\u00f9a H\u01b0\u01a1ng<\/p>\n

Anh ng\u1ed3i trong m\u01b0a, ng\u00f3ng v\u00e0o h\u00f2a b\u00ecnh v\u00e0 chi\u1ebfn tranh. N\u01a1i anh \u1edf l\u00e0 m\u1ed9t ng\u00f4i nh\u00e0, xung quanh th\u01b0ng chi\u1ebfu d\u00f9ng l\u00e0m treo tranh.<\/p><\/blockquote>\n

Ng\u00e0y \u0111\u00f3, h\u1ea7u h\u1ebft \u1edf nhi\u1ec1u cu\u1ed9c tri\u1ec5n l\u00e3m, ch\u00fang t\u00f4i d\u00f9ng chi\u1ebfu l\u00e0m v\u00e1ch treo tranh \u0111\u1ea5y ch\u1ee9 l\u1ea5y \u0111\u00e2u ra ph\u00f2ng \u1ed1c m\u00e0 tri\u1ec5n l\u00e3m.<\/p>\n

Anh Ph\u00e1i c\u00f2n b\u1ea3o:<\/p>\n

When you draw a painting, draw in the hook too, like in that sketch of Mr. Viet Ho. That way, even if it isn’t hung, it still feels like it’s been placed on the wall for someone to admire.<\/p><\/blockquote>\n

C\u00f2n b\u00fat v\u1ebd, ch\u00fang t\u00f4i d\u00f9ng \u1ed1ng \u0111\u1ea1n, \u0111\u1eadp d\u1eb9p, k\u1eb9p l\u1ea5y l\u00f4ng \u0111u\u00f4i b\u00f2 \u0111u\u00f4i tr\u00e2u l\u00e0m th\u00e0nh b\u00fat v\u1ebd n\u00ean nhi\u1ec1u n\u01a1i ch\u00fang t\u00f4i \u0111i qua, \u0111u\u00f4i tr\u00e2u \u0111u\u00f4i b\u00f2 ng\u1eafn l\u1ea1i do b\u1ecb c\u1eaft!<\/p>\n\t

Sau khi k\u1ebft th\u00fac l\u1edbp h\u1ecdc \u0111\u01b0\u1ee3c xem l\u00e0 l\u1edbp h\u1ed9i h\u1ecda \u0111\u1ea7u ti\u00ean c\u1ee7a n\u01b0\u1edbc Vi\u1ec7t Nam D\u00e2n ch\u1ee7 C\u1ed9ng h\u00f2a \u1ea5y, L\u01b0u Ly chuy\u1ec3n sang c\u00f4ng t\u00e1c \u0111\u1ecbch v\u1eadn, chuy\u00ean in \u1ea5n t\u00e0i li\u1ec7u, truy\u1ec1n \u0111\u01a1n \u1edf Li\u00ean khu 3. V\u00e0 trong bao l\u1ea7n c\u00f4ng t\u00e1c v\u00e0o sinh ra t\u1eed, h\u1ecda s\u0129 L\u01b0u Ly kh\u00f4ng bao gi\u1edd r\u1eddi t\u1eadp k\u00fd h\u1ecda l\u01b0u b\u00fat c\u00e1c b\u1eadc h\u1ecda s\u0129 \u0111\u00e0n anh.<\/p>\n\t

L\u00e3o h\u1ecda s\u1ef9 Luu Ly k\u1ec3 v\u1edbi t\u00f4i:<\/p>\n

Thu\u1edf \u1ea5y, nh\u1eefng h\u00f4m tr\u1eddi m\u01b0a l\u1ea1nh, th\u00e2n h\u00ecnh ph\u1ea3i m\u1eb7c \u00e1o gi\u1ea5y l\u00f3t b\u00ean trong cho \u1ea5m th\u00e2n h\u00ecnh, t\u00f4i c\u0169ng c\u1ea5t gi\u1eef t\u1eadp k\u00fd h\u1ecda n\u00e0y v\u00e0o n\u01a1i \u1ea5m \u00e1p nh\u1ea5t. C\u00f2n khi ra m\u01b0a, n\u00f3i th\u1eadt v\u1edbi anh, th\u00e0 th\u00e2n x\u00e1c m\u00ecnh d\u1ea7m m\u01b0a ch\u1ecbu r\u00e9t ch\u1ee9 nh\u1ea5t \u0111\u1ecbnh ph\u1ea3i b\u1ea3o v\u1ec7 cho k\u1ef3 \u0111\u01b0\u1ee3c m\u1ea5y trang gi\u1ea5y m\u1ecfng n\u00e0y \u0111\u1ea5y!<\/p><\/blockquote>\n\t

H\u1ebft th\u1eddi kh\u00e1ng chi\u1ebfn, m\u1ed9t l\u1ea7n n\u1eefa h\u1ecda s\u0129 L\u01b0u Ly l\u1ea1i chuy\u1ec3n ng\u00e0nh c\u00f4ng t\u00e1c. \u00d4ng ph\u1ee5 tr\u00e1ch m\u1ed9t x\u01b0\u1edfng ch\u1ebf t\u00e1c s\u01a1n m\u00e0i c\u1ee7a B\u1ed9 C\u00f4ng Th\u01b0\u01a1ng nh\u01b0ng ng\u00e0y \u0111\u00eam v\u1eabn kh\u00f4ng xa t\u1eadp k\u00fd h\u1ecda. Kh\u00f4ng c\u00f2n c\u1ea3nh m\u01b0a r\u00e9t, nh\u01b0ng nguy c\u01a1 b\u1ecb tan ra do \u0111\u1ed9 \u1ea9m cao l\u00e0 \u0111i\u1ec1u c\u00f3 th\u1ec3 n\u00ean h\u1ecda s\u0129 L\u01b0u Ly rang g\u1ea1o n\u1ebfp th\u01a1m, b\u1ecf v\u00e0o nilon, \u1ee7 nguy\u00ean c\u1ea3 t\u1eadp k\u00fd h\u1ecda nh\u01b0 th\u1ec3 \u1ee7 n\u00f3ng tr\u00e1i tim m\u00ecnh.<\/p>\n\t

Chao \u00f4i! Ng\u01b0\u1eddi v\u1ebd \u0111\u00e3 can tr\u01b0\u1eddng l\u00e3ng m\u1ea1n, ng\u01b0\u1eddi g\u00ecn gi\u1eef c\u0169ng ki\u00ean tr\u00ec \u0111am m\u00ea l\u1eafm thay! Ngh\u1ec7 thu\u1eadt t\u1ed3n t\u1ea1i kh\u00f4ng ch\u1ec9 nh\u1edd t\u00e0i n\u0103ng c\u1ee7a ngh\u1ec7 s\u0129 m\u00e0 c\u00f2n b\u1edfi t\u1ea5m l\u00f2ng c\u1ee7a thi\u00ean h\u1ea1! 60 n\u0103m tr\u00f4i qua, tr\u1ea3i qua bao nhi\u00eau th\u0103ng tr\u1ea7m, t\u1eadp k\u00fd h\u1ecda nh\u1ecf nhoi, s\u1eddn g\u00e1y, m\u1edd b\u00f3ng gi\u1ea5y n\u00e0y \u0111\u00e3 th\u00e0nh m\u1ed9t b\u00e1u v\u1eadt c\u1ee7a h\u1ecda s\u0129 L\u01b0u Ly v\u00ec v\u1edbi \u00f4ng, m\u1ed7i b\u1ee9c tranh k\u00fd h\u1ecda m\u1ed9c m\u1ea1c n\u00e0y l\u00e0 m\u1ed9t n\u1ed7i ho\u00e0i ni\u1ec7m l\u1edbn m\u00e0 c\u00e1c h\u1ecda s\u0129 b\u1eadc th\u1ea7y \u0111\u00e3 d\u00e0nh v\u00e0 \u00f4ng \u0111\u00e3 may m\u1eafn c\u00f3 trong \u0111\u1eddi!<\/p>\n\t

Sixty years have passed. Luu Ly, once a young student in that Fall-Winter painting class, now stands before me as an elder painter, nearly eighty years old. People change. Time changes. But the nineteen original sketches remain, each line still clear, each tone intact, each page quietly carrying the scent of history and the breath of those who once held the brush. They are not merely drawings. They are living echoes of a bygone time, a gallery of spirits who once wandered, dreamed, and gave themselves wholly to art.<\/p>\n\t

After so many long years of careful preservation, the elder painter Luu Ly has now chosen to entrust the sketchbook to Ms. Boi Tran, artist and founder of Boi Tran Gallery, nestled among the emerald pines of Thi\u00ean An Hill in Hue’s gentle autumn. What a remarkable circle of fate. The original Fall-Winter painting class, decades ago, had been organised by painter Than Trong Su, a Hue native. And now, over sixty years and many winding paths later, this sketchbook, so intimately tied to that moment in time, has returned to Hue, to the hands of another artist from the same land: Boi Tran. To her, Luu Ly has entrusted not only the sketches but also the spirit of a generation. He believes, deeply, quietly, that she will continue the journey: to protect, to honour, and to share this legacy with the world.<\/p>\n\t

L\u1ed7 T\u1eeb: Trong b\u1ed1i c\u1ea3nh Chi\u1ebfn d\u1ecbch Vi\u1ec7t B\u1eafc Thu\u2013\u0110\u00f4ng n\u0103m 1947, L\u1ed7 T\u1eeb kh\u00f4ng ph\u1ea3i l\u00e0 m\u1ed9t \u0111\u1ecba danh c\u1ee5 th\u1ec3, m\u00e0 thu\u1ed9c ph\u1ea1m vi c\u1ee7a chi\u1ebfn d\u1ecbch di\u1ec5n ra t\u1ea1i khu v\u1ef1c s\u00f4ng L\u00f4, bao g\u1ed3m c\u00e1c \u0111\u1ecba \u0111i\u1ec3m nh\u01b0 \u0110oan H\u00f9ng v\u00e0 Khe Lau.<\/p>\n

 <\/p>","protected":false},"excerpt":{"rendered":"

\u0110\u01b0\u1ee3c ngh\u1ec7 s\u0129 L\u01b0u Ly t\u00edn th\u00e1c, B\u1ed9i Tr\u00e2n \u0111\u1ea3m nh\u1eadn m\u1ed9t s\u1ee9 m\u1ec7nh th\u1ea7m l\u1eb7ng: g\u00ecn gi\u1eef nh\u1eefng ph\u00e1c th\u1ea3o t\u1eebng b\u1ecb l\u00e3ng qu\u00ean c\u1ee7a B\u00f9i Xu\u00e2n Ph\u00e1i, c\u00f9ng tinh th\u1ea7n c\u1ee7a m\u1ed9t th\u1ebf h\u1ec7 \u0111\u00e3 s\u1ed1ng, m\u01a1 v\u00e0 s\u00e1ng t\u1ea1o gi\u1eefa chi\u1ebfn tranh v\u00e0 t\u0129nh l\u1eb7ng.\n\nV\u01b0\u1ee3t l\u00ean tr\u00ean vai tr\u00f2 l\u01b0u gi\u1eef b\u1ea3n v\u1ebd, b\u00e0 tr\u1edf th\u00e0nh ng\u01b0\u1eddi g\u00ecn gi\u1eef m\u1ed9t ph\u1ea7n h\u1ed3n ngh\u1ec7 thu\u1eadt Vi\u1ec7t Nam, n\u01a1i k\u00fd \u1ee9c v\u00e0 \u0111\u1ecbnh m\u1ec7nh g\u1eb7p nhau trong t\u1eebng n\u00e9t v\u1ebd.<\/p>","protected":false},"author":2,"featured_media":4194,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[23,25,29,9],"tags":[],"class_list":["post-1020","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-art","category-culture","category-history-stories","category-stories"],"_links":{"self":[{"href":"https:\/\/boitran.com\/vi\/wp-json\/wp\/v2\/posts\/1020","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/boitran.com\/vi\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/boitran.com\/vi\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/boitran.com\/vi\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/boitran.com\/vi\/wp-json\/wp\/v2\/comments?post=1020"}],"version-history":[{"count":51,"href":"https:\/\/boitran.com\/vi\/wp-json\/wp\/v2\/posts\/1020\/revisions"}],"predecessor-version":[{"id":7687,"href":"https:\/\/boitran.com\/vi\/wp-json\/wp\/v2\/posts\/1020\/revisions\/7687"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/boitran.com\/vi\/wp-json\/wp\/v2\/media\/4194"}],"wp:attachment":[{"href":"https:\/\/boitran.com\/vi\/wp-json\/wp\/v2\/media?parent=1020"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/boitran.com\/vi\/wp-json\/wp\/v2\/categories?post=1020"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/boitran.com\/vi\/wp-json\/wp\/v2\/tags?post=1020"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}