Where silence becomes form and longing takes colour. Femme au Lotus (Lady with Lotus), Boi Tran’s luminous painting, graces the cover of For The One I Long For (Cho Ng\u01b0\u1eddi T\u00f4i Th\u01b0\u01a1ng Nh\u1edb) by poet Tran Ninh Ho. In this rare meeting of brush and verse, two kindred spirits of Vietnamese art recall, quietly and tenderly, what love leaves behind.<\/p>\n\t\t\t\t![\"Tran](\"https:\/\/boitran.com\/wp-content\/uploads\/2023\/05\/IMG_6885-1536x1024.jpg\")
\n\t\tTran Ninh Ho (Vietnam, B. 1943), or Tran Huu Hy, a member of the Vietnam Writers’ Association in 1976. Tran Ninh Ho’s poetry is erotic and filled with many narratives but its hidden meanings always show a way of personality or a personal point of view, sometimes from sheer irrationality to a philosophy.\n\t
N\u01a1i H\u1ed9i Ng\u1ed9 Gi\u1eefa H\u1ed9i H\u1ecda v\u00e0 Thi Ca, K\u00fd \u1ee8c H\u00ecnh Th\u00e0nh<\/p>\n\t
There are rare and luminous moments when two artistic souls, though working in different mediums, arrive at the same silence, the same longing, the same devotion to what cannot be fully spoken. Such a moment now quietly blossoms in Cho Ng\u01b0\u1eddi T\u00f4i Th\u01b0\u01a1ng Nh\u1edb (For the One I Long For), a newly released collection of love poems by the esteemed poet Tran Ninh Ho, whose cover bears the delicate imprint of Boi Tran’s painting Femme au Lotus (Lady with Lotus).<\/p>\n\t
Cu\u1ed9c g\u1eb7p g\u1ee1 gi\u1eefa thi ca v\u00e0 h\u1ed9i h\u1ecda n\u00e0y kh\u00f4ng ph\u1ea3i l\u00e0 k\u1ebft qu\u1ea3 c\u1ee7a thi\u1ebft k\u1ebf, m\u00e0 l\u00e0 m\u1ed9t \u0111\u1ecbnh m\u1ec7nh.<\/p>\n\t\t\t\t![\"Poetry](\"https:\/\/boitran.com\/wp-content\/uploads\/2023\/05\/IMG_6868.png\")
\n\t\tPoetry Publication by Poet Tran Ninh Ho (Vietnam, B. 1943) and his handwriting to Artist Boi Tran, issued by Writers Association Publishing House circa 2005. The front cover is Boi Tran’s Femme au lotus (Lady with Lotus).\n\t
Tr\u00ean b\u00eca t\u1eadp th\u01a1, m\u1ed9t ng\u01b0\u1eddi ph\u1ee5 n\u1eef c\u00fai \u0111\u1ea7u trong l\u1eb7ng y\u00ean, n\u00e2ng niu \u0111\u00f3a sen \u00e1nh l\u00ean m\u1edd \u1ea3o gi\u1eefa b\u00f3ng t\u1ed1i. D\u00e1ng h\u00ecnh \u1ea5y, v\u1ebd b\u1eb1ng n\u00e9t c\u1ecd \u0111\u1ea7y d\u1ecbu d\u00e0ng v\u00e0 ti\u1ebft ch\u1ebf, l\u00e0 m\u1ed9t s\u00e1ng t\u00e1c c\u1ee7a B\u1ed9i Tr\u00e2n.<\/p>\n
In her Femme au Lotus, the figure is graceful, unguarded, and inward-looking. She is not posed but present. There is no performance, only remembrance. This same spirit echoes throughout Tran Ninh Ho’s poems, where love is rarely declared aloud, but always felt: love that aches, love that survives loss, love that lingers like light on a closing door.<\/p>\n
Boi Tran’s painting was chosen not simply for its elegance but for its inner resonance. Her brush carries the same hush as Tran Ninh Ho’s verse, tender, restrained, imbued with reflection. It is the quiet that comes not from absence, but from a deep presence. The woman she paints does not need to smile; her silence is full of meaning. The lotus does not shout its bloom; it endures, luminous against the dusk.<\/p>\n\t
C\u1ea3 hai ngh\u1ec7 s\u0129 \u0111\u1ec1u l\u1eafng nghe k\u00fd \u1ee9c. C\u1ea3 hai c\u00f9ng d\u00e0nh s\u1ef1 t\u00f4n k\u00ednh cho nh\u1eefng \u0111i\u1ec1u th\u01b0\u1eddng b\u1ecb l\u00e3ng qu\u00ean: m\u1ed9t c\u1eed ch\u1ec9 kh\u1ebd, m\u1ed9t g\u01b0\u01a1ng m\u1eb7t n\u1eeda s\u00e1ng n\u1eeda t\u1ed1i, m\u1ed9t nh\u1ecbp th\u1edf d\u00e0i gi\u1eefa hai c\u00e2u n\u00f3i. Ng\u00f4n ng\u1eef c\u1ee7a h\u1ecd kh\u00e1c nhau, m\u1ed9t b\u1eb1ng c\u00e2u ch\u1eef, m\u1ed9t b\u1eb1ng n\u00e9t c\u1ecd, nh\u01b0ng c\u1ea3m th\u1ee9c l\u00e0 m\u1ed9t. Trong nhi\u1ec1u th\u1eadp k\u1ef7, Tran Ninh Ho \u0111\u00e3 vi\u1ebft v\u1edbi t\u00e2m h\u1ed3n c\u1ee7a tri\u1ebft gia v\u00e0 n\u1ed7i \u0111au \u00e2m \u1ec9 c\u1ee7a ng\u01b0\u1eddi y\u00eau. C\u0169ng ng\u1ea7n \u1ea5y th\u1eddi gian, B\u1ed9i Tr\u00e2n \u0111\u00e3 v\u1ebd v\u1edbi s\u1ef1 th\u00e0nh k\u00ednh, v\u1edbi im l\u1eb7ng, v\u1edbi c\u00e1i thi\u00eang, v\u1edbi s\u1ef1 v\u1eefng v\u00e0ng m\u1ec1m m\u1ea1i c\u1ee7a n\u1eef t\u00ednh.<\/p>\n\t
Tran Ninh Ho, one of Vietnam’s most respected literary voices, writes with a heart shaped by decades of love, war, and remembrance. In this volume, Cho Ng\u01b0\u1eddi T\u00f4i Th\u01b0\u01a1ng Nh\u1edb, or For the One I Long For, his poems unfold like whispered letters never sent. They speak of what remains unsaid, what endures, what aches softly in the background of the everyday.<\/p>\n\t
Ch\u00ednh tinh th\u1ea7n \u1ea5y l\u00e0 \u0111i\u1ec1u m\u00e0 B\u1ed9i Tr\u00e2n truy\u1ec1n t\u1ea3i qua tranh. Nh\u1eefng ng\u01b0\u1eddi ph\u1ee5 n\u1eef trong tranh ch\u1ecb kh\u00f4ng t\u00ecm c\u00e1ch thu h\u00fat \u00e1nh nh\u00ecn, m\u00e0 l\u1eb7ng l\u1ebd t\u1ed3n t\u1ea1i trong im l\u1eb7ng. C\u1eed ch\u1ec9 c\u1ee7a h\u1ecd \u0111\u01a1n s\u01a1, g\u1ea7n nh\u01b0 mang t\u00ednh nghi l\u1ec5. \u0110o\u00e1 sen trong tay, mong manh nh\u01b0ng b\u1ec1n b\u1ec9, ph\u1ea3n chi\u1ebfu tinh th\u1ea7n nh\u1eefng c\u00e2u th\u01a1: v\u1ebb \u0111\u1eb9p kh\u00f4ng ph\u00f4 tr\u01b0\u01a1ng, m\u00e0 tr\u01b0\u1eddng t\u1ed3n; s\u1ef1 d\u1ecbu d\u00e0ng kh\u00f4ng y\u1ebfu \u0111u\u1ed1i, m\u00e0 n\u00e2ng \u0111\u1ee1.<\/p>\n\t
C\u1ea3 hai ngh\u1ec7 s\u0129 \u0111\u1ec1u chia s\u1ebb m\u1ed9t s\u1ef1 tinh t\u1ebf trong ti\u1ebft ch\u1ebf. V\u00ec th\u1ebf, khi m\u1ed9t ng\u01b0\u1eddi xu\u1ea5t hi\u1ec7n b\u00ean ng\u01b0\u1eddi kia tr\u00ean b\u00eca s\u00e1ch, \u0111\u00f3 kh\u00f4ng ch\u1ec9 l\u00e0 s\u1ef1 ch\u1ecdn l\u1ef1a, m\u00e0 l\u00e0 m\u1ed9t cu\u1ed9c g\u1eb7p g\u1ee1 t\u1ea5t y\u1ebfu. Cho Ng\u01b0\u1eddi T\u00f4i Th\u01b0\u01a1ng Nh\u1edb kh\u00f4ng ch\u1ec9 l\u00e0 m\u1ed9t t\u1eadp th\u01a1, m\u00e0 l\u00e0 m\u1ed9t kh\u00f4ng gian \u0111\u1ed3ng c\u1ea3m, n\u01a1i n\u00e9t c\u1ecd v\u00e0 d\u00f2ng th\u01a1 song h\u00e0nh, \u0111\u1ed1i tho\u1ea1i v\u00e0 n\u00e2ng \u0111\u1ee1 l\u1eabn nhau.<\/p>\n\t
Published by Nh\u00e0 xu\u1ea5t b\u1ea3n H\u1ed9i Nh\u00e0 V\u0103n (Writers’ Association Publishing House), the volume also honors the lifelong literary journey of Tran Ninh Ho, born Tr\u1ea7n H\u1eefu H\u1ef7 in B\u1eafc Giang. His voice has long resonated with readers across generations, philosophical, intimate, and unmistakably human. The choice of cover, guided by Poet and Author Nguyen Trong Tao, further deepens this sense of intimacy.<\/p>\n\t
Vi\u1ec7c ch\u1ecdn b\u1ee9c tranh n\u00e0y l\u00e0m b\u00eca s\u00e1ch kh\u00f4ng ph\u1ea3i l\u00e0 ng\u1eabu nhi\u00ean; \u0111\u00f3 l\u00e0 m\u1ed9t cu\u1ed9c tr\u00f2 chuy\u1ec7n.<\/p>\n\t
Cho Ng\u01b0\u1eddi T\u00f4i Th\u01b0\u01a1ng Nh\u1edb is not only a literary offering, but it is a visual one. The cover, adorned with Boi Tran’s work, is its own kind of prelude. Before the reader meets the first line of verse, they are welcomed into a mood, a tone, a world. A world of dignified femininity. A world where longing is not weakness but depth. Where colour leans gently into word, and word into memory.<\/p>\n\t\t\t\t![\"Tran](\"https:\/\/boitran.com\/wp-content\/uploads\/2023\/05\/IMG_6869-768x1024.png\")
\n\t\tTran Ninh Ho’s Handwriting to Boi Tran, 2005, “To love and esteem Artist Boi Tran and your family. Hanoi, Early Summer 2005.”\n\t
Trong cu\u1ed9c g\u1eb7p g\u1ee1 gi\u1eefa n\u00e9t c\u1ecd v\u00e0 v\u1ea7n th\u01a1 n\u00e0y, c\u00f3 \u0111i\u1ec1u g\u00ec \u0111\u00f3 thi\u00eang li\u00eang kh\u1ebd th\u00e0nh h\u00ecnh. Ng\u01b0\u1eddi th\u01b0\u01a1ng ch\u1eb3ng h\u1ec1 \u0111\u01b0\u1ee3c g\u1ecdi t\u00ean. Nh\u01b0ng n\u00e0ng hi\u1ec7n di\u1ec7n, trong t\u1eebng d\u00f2ng th\u01a1, t\u1eebng n\u1ebfp l\u1ee5a, t\u1eebng b\u00f3ng nh\u1ecf d\u01b0\u1edbi c\u00e1nh hoa.<\/p>\n
T\u1ea1i Nh\u00e0 V\u01b0\u1eddn B\u1ed9i Tr\u00e2n, ch\u00fang t\u00f4i tr\u00e2n tr\u1ecdng t\u00f4n vinh cu\u1ed9c g\u1eb7p g\u1ee1 th\u1ea7m l\u1eb7ng gi\u1eefa hai th\u1ebf gi\u1edbi n\u1ed9i t\u00e2m. Mong r\u1eb1ng t\u1eadp th\u01a1 n\u00e0y kh\u00f4ng ch\u1ec9 \u0111\u01b0\u1ee3c c\u1ea7m nh\u01b0 m\u1ed9t tuy\u1ec3n t\u1eadp thi ca, m\u00e0 c\u00f2n nh\u01b0 m\u1ed9t k\u00fd \u1ee9c chung, v\u1ec1 c\u00e1i \u0111\u1eb9p, v\u1ec1 c\u1ea3m x\u00fac, v\u00e0 v\u1ec1 nh\u1eefng n\u01a1i y\u00ean l\u1eb7ng n\u01a1i ngh\u1ec7 thu\u1eadt kh\u1edfi sinh.<\/p>","protected":false},"excerpt":{"rendered":"
N\u01a1i im l\u1eb7ng tr\u1edf th\u00e0nh h\u00ecnh th\u1ec3, v\u00e0 n\u1ed7i nh\u1edb mang l\u1ea5y s\u1eafc m\u00e0u. 'Femme au Lotus' (Lady with Lotus), t\u00e1c ph\u1ea9m r\u1ea1ng s\u00e1ng c\u1ee7a B\u1ed9i Tr\u00e2n, hi\u1ec7n di\u1ec7n tr\u00ean trang b\u00eca t\u1eadp th\u01a1 'Cho Ng\u01b0\u1eddi T\u00f4i Th\u01b0\u01a1ng Nh\u1edb' c\u1ee7a thi s\u0129 Tr\u1ea7n Ninh H\u1ed3.\n\nTrong cu\u1ed9c g\u1eb7p g\u1ee1 hi\u1ebfm hoi gi\u1eefa n\u00e9t c\u1ecd v\u00e0 c\u00e2u ch\u1eef \u1ea5y, hai t\u00e2m h\u1ed3n \u0111\u1ed3ng \u0111i\u1ec7u c\u1ee7a ngh\u1ec7 thu\u1eadt Vi\u1ec7t Nam c\u00f9ng g\u1ee3i l\u1ea1i, l\u1eb7ng l\u1ebd v\u00e0 tinh t\u1ebf, nh\u1eefng g\u00ec t\u00ecnh y\u00eau \u0111\u1ec3 l\u1ea1i.<\/p>","protected":false},"author":2,"featured_media":5662,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[23,9],"tags":[],"class_list":["post-5667","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-art","category-stories"],"_links":{"self":[{"href":"https:\/\/boitran.com\/vi\/wp-json\/wp\/v2\/posts\/5667","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=5667"}],"version-history":[{"count":8,"href":"https:\/\/boitran.com\/vi\/wp-json\/wp\/v2\/posts\/5667\/revisions"}],"predecessor-version":[{"id":7658,"href":"https:\/\/boitran.com\/vi\/wp-json\/wp\/v2\/posts\/5667\/revisions\/7658"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/boitran.com\/vi\/wp-json\/wp\/v2\/media\/5662"}],"wp:attachment":[{"href":"https:\/\/boitran.com\/vi\/wp-json\/wp\/v2\/media?parent=5667"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/boitran.com\/vi\/wp-json\/wp\/v2\/categories?post=5667"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/boitran.com\/vi\/wp-json\/wp\/v2\/tags?post=5667"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}