{"id":5637,"date":"2011-10-10T09:06:58","date_gmt":"2011-10-10T09:06:58","guid":{"rendered":"https:\/\/boitran.com\/?p=5637"},"modified":"2026-04-03T07:35:40","modified_gmt":"2026-04-03T07:35:40","slug":"boi-tran-through-the-eyes-of-vietnamese-painters-a-poem-by-dinh-cuong","status":"publish","type":"post","link":"https:\/\/boitran.com\/vi\/boi-tran-through-the-eyes-of-vietnamese-painters-a-poem-by-dinh-cuong\/","title":{"rendered":"B\u1ed9i Tr\u00e2n Trong C\u00e1i Nh\u00ecn C\u1ee7a C\u00e1c H\u1ecda S\u0129 Vi\u1ec7t Nam: M\u1ed9t B\u00e0i Th\u01a1 C\u1ee7a \u0110inh C\u01b0\u1eddng"},"content":{"rendered":"

\n\t\t\tB\u1ed9i Tr\u00e2n Trong C\u00e1i Nh\u00ecn C\u1ee7a C\u00e1c H\u1ecda S\u0129 Vi\u1ec7t Nam: M\u1ed9t B\u00e0i Th\u01a1 C\u1ee7a \u0110inh C\u01b0\u1eddng\t<\/h2>\n

\n\t\t\t\u0110inh C\u01b0\u1eddng\t<\/h5>\n
\n\t\t\t\t\"Dinh\n\t\t
Dinh Cuong (Vietnam, 1939-2016), Portrait of Boi Tran, signed and dated 'dinh cuong 22.6.06' (upper middle); with his inscription 'gh\u00e9 th\u0103m gallery B\u1ed9i Tr\u00e2n' ink on paper 29.7 x 21 cm. Painted in 2006<\/figcaption>\n\t<\/figure>\n
\n\t\t\t\t\"D\u00e2ngs\u01a1n\n\t\t
Dinh Cuong (Vietnam\/America, 1939-2016), Offering (D\u00e2ng), oil on canvas. 35.6 \u00d7 55.9 cm (14 \u00d7 22 in.)<\/figcaption>\n\t<\/figure>\n\t

Kh\u00f4ng c\u1ea7n \u0111\u01b0\u1ee3c mi\u00eau t\u1ea3, b\u1edfi \u0111\u00e3 hi\u1ec7n h\u1eefu. Kh\u00f4ng nh\u01b0 h\u00ecnh \u1ea3nh, m\u00e0 nh\u01b0 s\u1ef1 hi\u1ec7n di\u1ec7n, kh\u00f4ng nh\u01b0 \u0111\u1ed1i t\u01b0\u1ee3ng, m\u00e0 nh\u01b0 n\u01a1i c\u1ea3m x\u00fac v\u1eabn quay v\u1ec1.<\/p>\n\t

B\u00e0i th\u01a1 \u0111\u01b0\u1ee3c vi\u1ebft t\u1eeb m\u1ed9t kho\u1ea3ng c\u00e1ch.<\/p>\nNot only in geography, from Virginia to Hue, but in time, in memory, in a space where what remains is no longer what is seen, but what endures.\nDinh Cuong’s text, dated October 10, 2011, is addressed simply to “a lady on Thien An Hill.” It does not name her. It does not introduce her. It assumes her presence.\n\t

B\u00e0i th\u01a1 \u0111\u01b0\u1ee3c vi\u1ebft l\u1ea1i nguy\u00ean v\u0103n d\u01b0\u1edbi \u0111\u00e2y:<\/p>\n\t

B\u00e0i T\u1eb7ng Ng\u01b0\u1eddi \u1ede Tr\u00ean \u0110\u1ed3i Thi\u00ean An<\/strong><\/p>\nNg\u01b0\u1eddi \u1edf tr\u00ean \u0111\u1ed3i Thi\u00ean An
m\u01b0a l\u1edbn kh\u00f4ng ra kh\u1ecfi nh\u00e0
m\u01b0a l\u1edbn qua \u0111\u1ed3i th\u00f4ng xanh
heavy rains through October in Hue\nincense smoke in the middle of the house
bi\u1ec3n x\u00f4 s\u00f3ng cu\u1ed9n ngu\u00f4i ch\u01b0a
v\u01b0\u1eddn khuya hoa qu\u1ef3nh c\u00f3 n\u1edf
whitening over the hall in the rain?\nnostalgic about the wine night
d\u01b0\u1edbi \u00e1nh \u0111\u00e8n n\u00ea-\u00f4ng xanh
m\u1ea5y ng\u00e0y nay m\u01b0a gi\u00f3 l\u1edbn
has the light been off halfway?\nIs a lady on Thien An Hill
c\u1eeda \u0111\u00f3ng then c\u00e0i bu\u1ed3n kh\u00f4ng?\n\u0110inh C\u01b0\u1eddng, Virginia, 10.10.2011<\/strong>\n\t

B\u00e0i th\u01a1 kh\u00f4ng m\u1edf ra. N\u00f3 kh\u00f4ng mi\u00eau t\u1ea3 \u0111\u1ec3 gi\u1eef l\u1ea1i m\u1ed9t c\u1ea3nh. N\u00f3 \u1edf trong s\u1ef1 l\u1eb7p l\u1ea1i, m\u01b0a, k\u00fd \u1ee9c, c\u00e2u h\u1ecfi, kho\u1ea3ng d\u1eebng.<\/p>\nIts language is simple, almost unguarded. And yet, it is precisely through this restraint that something else becomes perceptible.\nThe repetition of rain is not meteorological. It is temporal. It carries duration, continuity, a condition that extends beyond the present moment.\nThe house is interior, but not closed. Incense smoke rises. The Queen of the Night may or may not bloom. Light flickers. Nothing is certain, yet nothing disappears.\nThe poem does not resolve. It remains suspended.\nNg\u01b0\u1eddi \u1edf tr\u00ean \u0111\u1ed3i Thi\u00ean An<\/em>
c\u1eeda \u0111\u00f3ng then c\u00e0i bu\u1ed3n kh\u00f4ng?<\/em>\nThis question is not meant to be answered. It marks the limit of what distance allows.\nAnd yet, within that distance, one thing holds.\nThe “lady on Thien An Hill” is not described because she does not need to be. She is already known, not through image, but through continuity.\nShe is not a subject. She is a point of orientation.\nIt is in this sense that the poem becomes less about weather, memory, or place, and more about relation.\n\t

\u0110inh C\u01b0\u1eddng kh\u00f4ng ph\u1ea3i l\u00e0 ng\u01b0\u1eddi duy nh\u1ea5t c\u00f3 s\u1ef1 nh\u1eadn bi\u1ebft \u1ea5y.<\/p>\nFor artists who came to Hue, and to Boi Tran Art Gallery, the encounter was rarely defined by exhibition alone. It unfolded instead through a different register, one shaped by presence, by hospitality, and by a space that did not impose itself, but received.\nIn 2010, at the Hue Fine Arts Museum, Dinh Cuong and Boi Tran were present alongside Truong Be and Vinh Phoi for the exhibition Hoang Dang Nhuan and Dinh Cuong in Hue. The gathering did not take on the weight of a formal event. It remained closer to a shared moment, quietly held rather than defined.\nAcross such encounters, a pattern emerges.\nBoi Tran does not appear as a figure to be described. She is not positioned within the discourse of style, nor confined within a single narrative of practice.\nShe is recognised instead as something more elusive.\nA presence that holds.
A place that remains.\nFor painters, whose work often depends on image, this form of recognition is unusual. It does not produce representation. It does not translate into portrait or likeness.\nIt results instead in gesture, a poem, a visit, a return.\n\t

T\u1ea1i Nh\u00e0 V\u01b0\u1eddn B\u1ed9i Tr\u00e2n, \u0111i\u1ec1u \u1ea5y v\u1eabn ti\u1ebfp di\u1ec5n.<\/p>\nArt is not separated from life. It is not framed as object alone. It exists within a continuum, where painting, architecture, memory, and encounter remain inseparable.\nThe poem, in this sense, does not stand apart from the place.\nIt belongs to it.\nNot as description, but as trace.","protected":false},"excerpt":{"rendered":"

Kh\u00f4ng c\u1ea7n \u0111\u01b0\u1ee3c mi\u00eau t\u1ea3, b\u1edfi \u0111\u00e3 hi\u1ec7n h\u1eefu. Kh\u00f4ng nh\u01b0 h\u00ecnh \u1ea3nh, m\u00e0 nh\u01b0 s\u1ef1 hi\u1ec7n di\u1ec7n, kh\u00f4ng nh\u01b0 \u0111\u1ed1i t\u01b0\u1ee3ng, m\u00e0 nh\u01b0 n\u01a1i c\u1ea3m x\u00fac v\u1eabn quay v\u1ec1.<\/p>","protected":false},"author":2,"featured_media":5635,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[23,9],"tags":[90,91,17,110,104,89],"class_list":["post-5637","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-art","category-stories","tag-boi-tran","tag-boi-tran-art-gallery","tag-boi-tran-garden","tag-dinh-cuong","tag-truong-be","tag-vinh-phoi"],"_links":{"self":[{"href":"https:\/\/boitran.com\/vi\/wp-json\/wp\/v2\/posts\/5637","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=5637"}],"version-history":[{"count":16,"href":"https:\/\/boitran.com\/vi\/wp-json\/wp\/v2\/posts\/5637\/revisions"}],"predecessor-version":[{"id":8062,"href":"https:\/\/boitran.com\/vi\/wp-json\/wp\/v2\/posts\/5637\/revisions\/8062"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/boitran.com\/vi\/wp-json\/wp\/v2\/media\/5635"}],"wp:attachment":[{"href":"https:\/\/boitran.com\/vi\/wp-json\/wp\/v2\/media?parent=5637"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/boitran.com\/vi\/wp-json\/wp\/v2\/categories?post=5637"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/boitran.com\/vi\/wp-json\/wp\/v2\/tags?post=5637"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}