{"id":6208,"date":"1998-04-03T11:42:52","date_gmt":"1998-04-03T11:42:52","guid":{"rendered":"https:\/\/boitran.com\/?p=6208"},"modified":"2026-04-10T06:21:55","modified_gmt":"2026-04-10T06:21:55","slug":"mai-van-hien-1998-or-a-letter-at-the-crossroads-of-generations-and-the-formation-of-a-private-art-centre","status":"publish","type":"post","link":"https:\/\/boitran.com\/vi\/mai-van-hien-1998-or-a-letter-at-the-crossroads-of-generations-and-the-formation-of-a-private-art-centre\/","title":{"rendered":"Mai V\u0103n Hi\u1ebfn, 1998, Hay B\u1ee9c Th\u01b0 Giao \u0110i\u1ec3m Th\u1ebf H\u1ec7 V\u00e0 S\u1ef1 H\u00ecnh Th\u00e0nh C\u1ee7a Trung T\u00e2m Ngh\u1ec7 Thu\u1eadt T\u01b0 Nh\u00e2n"},"content":{"rendered":"

\n\t\t\tMai V\u0103n Hi\u1ebfn, 1998, Hay B\u1ee9c Th\u01b0 Giao \u0110i\u1ec3m Th\u1ebf H\u1ec7 V\u00e0 S\u1ef1 H\u00ecnh Th\u00e0nh C\u1ee7a Trung T\u00e2m Ngh\u1ec7 Thu\u1eadt T\u01b0 Nh\u00e2n\t<\/h2>\n\t

Mai V\u0103n Hi\u1ebfn, m\u1ed9t g\u01b0\u01a1ng m\u1eb7t ti\u00eau bi\u1ec3u c\u1ee7a m\u1ef9 thu\u1eadt Vi\u1ec7t Nam hi\u1ec7n \u0111\u1ea1i, \u0111\u00e3 vi\u1ebft tay m\u1ed9t b\u1ee9c th\u01b0 n\u0103m 1998 g\u1eedi Ph\u00f2ng Tranh B\u1ed9i Tr\u00e2n nh\u00e2n d\u1ecbp khai tr\u01b0\u01a1ng. Gi\u1ecdng v\u0103n khi\u00eam cung, \u00f4ng g\u1eedi l\u1eddi ch\u00fac v\u00e0 t\u1ef1 nh\u1eadn m\u00ecnh m\u1ed9t c\u00e1ch gi\u1ea3n d\u1ecb. Ng\u00e0y nay, trong kh\u00f4ng gian c\u1ee7a B\u1ed9i Tr\u00e2n, b\u1ee9c th\u01b0 tr\u1edf th\u00e0nh d\u1ea5u m\u1ed1c ghi nh\u1eadn s\u1edbm m\u1ed9t n\u01a1i ch\u1ed1n k\u1ebft n\u1ed1i c\u00e1c th\u1ebf h\u1ec7 ngh\u1ec7 s\u0129 Vi\u1ec7t Nam.<\/p>\n

\n\t\t\t\t\"General\n\t\t
\u0110\u1ea1i t\u01b0\u1edbng V\u00f5 Nguy\u00ean Gi\u00e1p (Vi\u1ec7t Nam, 1911\u20132013) c\u00f9ng ph\u00e1i \u0111o\u00e0n M\u1ef9 thu\u1eadt Vi\u1ec7t Nam trong chuy\u1ebfn c\u00f4ng t\u00e1c t\u1ea1i Li\u00ean X\u00f4 kho\u1ea3ng n\u0103m 1958\u20131959; \u0111\u1ee9ng t\u1eeb tr\u00e1i sang ph\u1ea3i: Mai V\u0103n Hi\u1ebfn, X, X, T\u1ed1 H\u1eefu, Phan K\u1ebf An, Di\u1ec7p Minh Ch\u00e2u; v\u00e0 ng\u1ed3i t\u1eeb tr\u00e1i sang ph\u1ea3i: Tr\u1ea7n V\u0103n C\u1ea9n, V\u00f5 Nguy\u00ean Gi\u00e1p, L\u01b0\u01a1ng Xu\u00e2n Nh\u1ecb.<\/figcaption>\n\t<\/figure>\n
\n\t\t\t\t\"Tran\n\t\t
Tran Van Can, Tham Duc Tu, Mai Van Hien, Le Cong Thanh, and Pham Van Don at a children’s painting and sculpture exhibition, around 1970-1980<\/figcaption>\n\t<\/figure>\n
\n\t\t\t\t\"Painters,\n\t\t
C\u00e1c h\u1ecda s\u0129, nguy\u00ean l\u00e0 sinh vi\u00ean Tr\u01b0\u1eddng Cao \u0111\u1eb3ng M\u1ef9 thu\u1eadt \u0110\u00f4ng D\u01b0\u01a1ng: Phan K\u1ebf An, Nguy\u1ec5n Tr\u1ecdng H\u1ee3p, Nguy\u1ec5n Th\u1ecb Kim, Ph\u1ea1m V\u0103n \u0110\u00f4n, Nguy\u1ec5n V\u0103n B\u00ecnh, T\u1ea1 Th\u00fac B\u00ecnh, Hu\u1ef3nh V\u0103n Thu\u1eadn, L\u00ea Thanh \u0110\u1ee9c, L\u01b0\u01a1ng Xu\u00e2n Nh\u1ecb, Nguy\u1ec5n Quang Ph\u00f2ng, Mai V\u0103n Hi\u1ebfn (t\u1eeb tr\u00e1i sang ph\u1ea3i) t\u1ea1i Tr\u01b0\u1eddng Cao \u0111\u1eb3ng M\u1ef9 thu\u1eadt H\u00e0 N\u1ed9i n\u0103m 1993.<\/figcaption>\n\t<\/figure>\n
\n\t\t\t\t\"Mai\n\t\t
Mai V\u0103n Hi\u1ebfn, X, B\u00f9i Xu\u00e2n Ph\u00e1i<\/figcaption>\n\t<\/figure>\n\t

Mai Van Hien belongs to a generation that shaped the foundations of modern Vietnamese art. Born in My Tho, Tien Giang, he was trained at the \u00c9cole des Beaux-Arts de l’Indochine during its final years (Class XVII, 1943-1945), a period that produced many of the defining figures of twentieth-century Vietnamese painting.<\/p>\n

Qu\u00e1 tr\u00ecnh ngh\u1ec7 thu\u1eadt c\u1ee7a \u00f4ng g\u1eafn ch\u1eb7t v\u1edbi nh\u1eefng bi\u1ebfn chuy\u1ec3n l\u1ecbch s\u1eed c\u1ee7a \u0111\u1ea5t n\u01b0\u1edbc. Trong giai \u0111o\u1ea1n h\u1eadu 1945, c\u00f9ng v\u1edbi c\u00e1c h\u1ecda s\u0129 nh\u01b0 Nguy\u1ec5n \u0110\u1ed7 Cung, Nguy\u1ec5n S\u00e1ng v\u00e0 Nguy\u1ec5n V\u0103n Khanh, Mai V\u0103n Hi\u1ebfn \u0111\u01b0\u1ee3c giao nhi\u1ec7m v\u1ee5 ph\u00e1c th\u1ea3o m\u1eabu ti\u1ec1n gi\u1ea5y \u0111\u1ea7u ti\u00ean do ch\u00ednh ph\u1ee7 Vi\u1ec7t Nam ph\u00e1t h\u00e0nh d\u01b0\u1edbi s\u1ef1 ch\u1ec9 \u0111\u1ea1o c\u1ee7a B\u1ed9 tr\u01b0\u1edfng T\u00e0i ch\u00ednh Ph\u1ea1m V\u0103n \u0110\u1ed3ng. Kho\u1ea3nh kh\u1eafc n\u00e0y \u0111\u1eb7t th\u1ef1c h\u00e0nh c\u1ee7a \u00f4ng t\u1ea1i giao \u0111i\u1ec3m gi\u1eefa ngh\u1ec7 thu\u1eadt v\u00e0 ti\u1ebfn tr\u00ecnh ki\u1ebfn t\u1ea1o qu\u1ed1c gia, n\u01a1i h\u00ecnh \u1ea3nh v\u1eeba mang vai tr\u00f2 bi\u1ec3u t\u01b0\u1ee3ng v\u1eeba mang ch\u1ee9c n\u0103ng th\u1ef1c ti\u1ec5n.<\/p>\n

Tuy nhi\u00ean, v\u01b0\u1ee3t ra ngo\u00e0i nh\u1eefng \u0111\u00f3ng g\u00f3p \u0111\u00e3 \u0111\u01b0\u1ee3c ghi nh\u1eadn r\u1ed9ng r\u00e3i, v\u1eabn t\u1ed3n t\u1ea1i nh\u1eefng t\u01b0 li\u1ec7u l\u1eb7ng l\u1ebd h\u01a1n, h\u00e9 l\u1ed9 m\u1ed9t chi\u1ec1u k\u00edch kh\u00e1c c\u1ee7a ng\u01b0\u1eddi ngh\u1ec7 s\u0129.<\/p>\n

M\u1ed9t b\u1ee9c th\u01b0.<\/p>\n

\n\t\t\t\t\"Mai\n\t\t
Mai Van Hien’s handwriting on 3 April 1998. “Hanoi, 3 April 1998. \nDear Boi Tran Art Gallery,\nAfter a period away from Hanoi, upon returning I received the invitation to attend the opening of the art gallery. Sincere thanks. It is a pity that I am not able to attend this joyful occasion. I wish the art gallery success in its artistic activities and hope for a close connection between the art gallery and a painter of the lower, average kind who, exactly 60 years ago (not so long), was trained in a place of beautiful people and scenery, that is Hue.\nThe emblem (logo)\nSimple and beautiful\nKind regards\nMai Van Hien”<\/figcaption>\n\t<\/figure>\n\t

\u0110\u1ec1 ng\u00e0y 3 th\u00e1ng 4 n\u0103m 1998, vi\u1ebft t\u1ea1i H\u00e0 N\u1ed9i, Mai V\u0103n Hi\u1ebfn \u0111\u00e3 vi\u1ebft tay m\u1ed9t b\u1ee9c th\u01b0 g\u1eedi \u0111\u1ebfn Ph\u00f2ng Tranh B\u1ed9i Tr\u00e2n nh\u00e2n d\u1ecbp khai tr\u01b0\u01a1ng.<\/p>\n

Sau m\u1ed9t th\u1eddi gian v\u1eafng H\u00e0 N\u1ed9i, \u00f4ng vi\u1ebft r\u1eb1ng m\u00ecnh \u0111\u00e3 nh\u1eadn \u0111\u01b0\u1ee3c th\u01b0 m\u1eddi khi tr\u1edf v\u1ec1. \u00d4ng b\u00e0y t\u1ecf l\u00f2ng c\u1ea3m k\u00edch ch\u00e2n th\u00e0nh, ti\u1ebfp \u0111\u00f3 l\u00e0 s\u1ef1 ti\u1ebfc nu\u1ed1i v\u00ec kh\u00f4ng th\u1ec3 tham d\u1ef1 s\u1ef1 ki\u1ec7n. Sau \u0111\u00f3, \u00f4ng g\u1eedi l\u1eddi ch\u00fac th\u00e0nh c\u00f4ng v\u00e0 ph\u00e1t \u0111\u1ea1t \u0111\u1ebfn ph\u00f2ng tranh, \u0111\u1ed3ng th\u1eddi b\u00e0y t\u1ecf mong mu\u1ed1n \u0111\u01b0\u1ee3c duy tr\u00ec s\u1ef1 k\u1ebft n\u1ed1i.<\/p>\n

Gi\u1ecdng v\u0103n c\u1ee7a b\u1ee9c th\u01b0 \u0111i\u1ec1m \u0111\u1ea1m, tr\u1ef1c ti\u1ebfp v\u00e0 \u0111\u1eb7c bi\u1ec7t khi\u00eam cung.<\/p>\n

He refers to himself as “a humbled, semi-skilled and below average painter,” a self-description that stands in contrast to his historical position. This gesture of self-effacement is not incidental. It reflects a generational ethos, one shaped by discipline, collective experience, and an understanding of artistic practice as a form of commitment rather than assertion.<\/p>\n

Trong b\u1ee9c th\u01b0, m\u1ed9t s\u1ef1 tr\u1edf l\u1ea1i v\u1edbi Hu\u1ebf xu\u1ea5t hi\u1ec7n.<\/p>\n

He recalls that sixty years earlier, he had been trained in a place defined by “exquisite scenery and graceful people.” This recollection does not function as nostalgia alone. It situates Hue as a formative environment, one that contributed to the shaping of artistic perception.<\/p>\n

\u1ede ph\u1ea7n k\u1ebft c\u1ee7a b\u1ee9c th\u01b0, \u00f4ng vi\u1ebft \u0111\u01a1n gi\u1ea3n:<\/p>\n

“The logo, simple yet elegant.”<\/strong><\/p>\n

Nh\u1eadn x\u00e9t ng\u1eafn g\u1ecdn n\u00e0y mang m\u1ed9t s\u1ef1 r\u00f5 r\u00e0ng \u0111\u1eb7c bi\u1ec7t. N\u00f3 ghi nh\u1eadn, d\u01b0\u1edbi h\u00ecnh th\u1ee9c c\u00f4 \u0111\u1ecdng nh\u1ea5t, b\u1ea3n s\u1eafc c\u1ee7a m\u1ed9t kh\u00f4ng gian m\u00e0 t\u1ea1i th\u1eddi \u0111i\u1ec3m \u0111\u00f3 m\u1edbi ch\u1ec9 b\u1eaft \u0111\u1ea7u h\u00ecnh th\u00e0nh.<\/p>\n

N\u0103m 1998, Ph\u00f2ng Tranh B\u1ed9i Tr\u00e2n ch\u01b0a n\u1eafm gi\u1eef v\u1ecb th\u1ebf m\u00e0 sau n\u00e0y s\u1ebd \u0111\u1ea1t \u0111\u01b0\u1ee3c. N\u00f3 t\u1ed3n t\u1ea1i nh\u01b0 m\u1ed9t kh\u00f4ng gian m\u1edbi \u0111\u01b0\u1ee3c th\u00e0nh l\u1eadp, xu\u1ea5t hi\u1ec7n trong m\u1ed9t b\u1ed1i c\u1ea3nh m\u00e0 trao \u0111\u1ed5i ngh\u1ec7 thu\u1eadt v\u1eabn ch\u1ee7 y\u1ebfu ph\u1ee5 thu\u1ed9c v\u00e0o c\u00e1c k\u1ebft n\u1ed1i c\u00e1 nh\u00e2n h\u01a1n l\u00e0 c\u00e1c thi\u1ebft ch\u1ebf ch\u00ednh th\u1ee9c.<\/p>\n

V\u00e0 tuy v\u1eady, b\u1ee9c th\u01b0 n\u00e0y cho th\u1ea5y s\u1ef1 hi\u1ec7n di\u1ec7n c\u1ee7a n\u00f3 \u0111\u00e3 \u0111\u01b0\u1ee3c nh\u1eadn bi\u1ebft.<\/p>\n

Theo th\u1eddi gian, s\u1ef1 hi\u1ec7n di\u1ec7n \u1ea5y s\u1ebd ph\u00e1t tri\u1ec3n th\u00e0nh s\u1ef1 ti\u1ebfp n\u1ed1i.<\/p>\n

Trong kh\u00f4ng gian Nh\u00e0 V\u01b0\u1eddn B\u1ed9i Tr\u00e2n v\u00e0 Ph\u00f2ng Tranh B\u1ed9i Tr\u00e2n, m\u1ed9t m\u1ea1ng l\u01b0\u1edbi quan h\u1ec7 b\u1ec1n v\u1eefng \u0111\u00e3 \u0111\u01b0\u1ee3c h\u00ecnh th\u00e0nh, k\u1ebft n\u1ed1i c\u00e1c ngh\u1ec7 s\u0129 qua nhi\u1ec1u th\u1ebf h\u1ec7.<\/p>\n

From those trained at the \u00c9cole des Beaux-Arts de l’Indochine, to artists shaped by the post-war period, to contemporary practitioners, the space has functioned as a point of encounter, where works, ideas, and experiences are exchanged not only through exhibition, but through presence.<\/p>\n

Trong b\u1ed1i c\u1ea3nh \u0111\u00f3, b\u1ee9c th\u01b0 c\u1ee7a Mai V\u0103n Hi\u1ebfn kh\u00f4ng ph\u1ea3i l\u00e0 m\u1ed9t t\u01b0 li\u1ec7u \u0111\u01a1n l\u1ebb. N\u00f3 l\u00e0 m\u1ed9t ph\u1ea7n c\u1ee7a m\u1ed9t d\u00f2ng ch\u1ea3y.<\/p>\n

N\u00f3 ph\u1ea3n \u00e1nh m\u1ed9t kho\u1ea3nh kh\u1eafc m\u00e0 m\u1ed9t th\u1ebf h\u1ec7 nh\u1eadn ra s\u1ef1 xu\u1ea5t hi\u1ec7n c\u1ee7a m\u1ed9t kh\u00f4ng gian kh\u00e1c, m\u1ed9t kh\u00f4ng gian m\u00e0 sau n\u00e0y s\u1ebd g\u1eafn v\u00e0o c\u1ea5u tr\u00fac r\u1ed9ng h\u01a1n c\u1ee7a m\u1ef9 thu\u1eadt Vi\u1ec7t Nam.<\/p>\n

B\u1ee9c th\u01b0 kh\u00f4ng kh\u1eb3ng \u0111\u1ecbnh \u00fd ngh\u0129a. N\u00f3 kh\u00f4ng \u0111\u1ecbnh ngh\u0129a l\u1ecbch s\u1eed. N\u00f3 ghi l\u1ea1i m\u1ed9t \u0111i\u1ec1u l\u1eb7ng l\u1ebd h\u01a1n.<\/p>\n

M\u1ed9t s\u1ef1 ghi nh\u1eadn, m\u1ed9t k\u1ebft n\u1ed1i, v\u00e0 s\u1ef1 kh\u1edfi \u0111\u1ea7u c\u1ee7a m\u1ed9t s\u1ef1 ti\u1ebfp n\u1ed1i.<\/p>","protected":false},"excerpt":{"rendered":"

Mai V\u0103n Hi\u1ebfn, m\u1ed9t g\u01b0\u01a1ng m\u1eb7t ti\u00eau bi\u1ec3u c\u1ee7a m\u1ef9 thu\u1eadt Vi\u1ec7t Nam hi\u1ec7n \u0111\u1ea1i, \u0111\u00e3 vi\u1ebft tay m\u1ed9t b\u1ee9c th\u01b0 n\u0103m 1998 g\u1eedi Ph\u00f2ng Tranh B\u1ed9i Tr\u00e2n nh\u00e2n d\u1ecbp khai tr\u01b0\u01a1ng. Gi\u1ecdng v\u0103n khi\u00eam cung, \u00f4ng g\u1eedi l\u1eddi ch\u00fac v\u00e0 t\u1ef1 nh\u1eadn m\u00ecnh m\u1ed9t c\u00e1ch gi\u1ea3n d\u1ecb. Ng\u00e0y nay, trong kh\u00f4ng gian c\u1ee7a B\u1ed9i Tr\u00e2n, b\u1ee9c th\u01b0 tr\u1edf th\u00e0nh d\u1ea5u m\u1ed1c ghi nh\u1eadn s\u1edbm m\u1ed9t n\u01a1i ch\u1ed1n k\u1ebft n\u1ed1i c\u00e1c th\u1ebf h\u1ec7 ngh\u1ec7 s\u0129 Vi\u1ec7t Nam.<\/p>","protected":false},"author":2,"featured_media":6505,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[23,29,9],"tags":[90,91,17,95,94,96],"class_list":["post-6208","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-art","category-history-stories","category-stories","tag-boi-tran","tag-boi-tran-art-gallery","tag-boi-tran-garden","tag-luong-xuan-nhi","tag-mai-van-hien","tag-phan-ke-an"],"_links":{"self":[{"href":"https:\/\/boitran.com\/vi\/wp-json\/wp\/v2\/posts\/6208","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=6208"}],"version-history":[{"count":22,"href":"https:\/\/boitran.com\/vi\/wp-json\/wp\/v2\/posts\/6208\/revisions"}],"predecessor-version":[{"id":8144,"href":"https:\/\/boitran.com\/vi\/wp-json\/wp\/v2\/posts\/6208\/revisions\/8144"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/boitran.com\/vi\/wp-json\/wp\/v2\/media\/6505"}],"wp:attachment":[{"href":"https:\/\/boitran.com\/vi\/wp-json\/wp\/v2\/media?parent=6208"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/boitran.com\/vi\/wp-json\/wp\/v2\/categories?post=6208"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/boitran.com\/vi\/wp-json\/wp\/v2\/tags?post=6208"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}