{"id":8598,"date":"2026-10-11T12:03:20","date_gmt":"2026-10-11T12:03:20","guid":{"rendered":"https:\/\/boitran.com\/?p=8598"},"modified":"2026-10-30T12:57:30","modified_gmt":"2026-10-30T12:57:30","slug":"beyond-influence-rethinking-vietnamese-modern-art-through-echoes-of-tonkin","status":"publish","type":"post","link":"https:\/\/boitran.com\/vi\/beyond-influence-rethinking-vietnamese-modern-art-through-echoes-of-tonkin\/","title":{"rendered":"V\u01b0\u1ee3t ra ngo\u00e0i c\u00e2u chuy\u1ec7n \u1ea3nh h\u01b0\u1edfng: Nh\u00ecn l\u1ea1i m\u1ef9 thu\u1eadt hi\u1ec7n \u0111\u1ea1i Vi\u1ec7t Nam qua V\u1ecdng \u0110\u00f4ng Kinh"},"content":{"rendered":"

\n\t\t\tV\u01b0\u1ee3t ra ngo\u00e0i c\u00e2u chuy\u1ec7n \u1ea3nh h\u01b0\u1edfng: Nh\u00ecn l\u1ea1i m\u1ef9 thu\u1eadt hi\u1ec7n \u0111\u1ea1i Vi\u1ec7t Nam qua V\u1ecdng \u0110\u00f4ng Kinh\t<\/h2>\n\tPresented at DE SARTHE in Hong Kong, V\u1ecdng \u0110\u00f4ng Kinh: M\u1ef9 thu\u1eadt hi\u1ec7n \u0111\u1ea1i Vi\u1ec7t Nam<\/em> offers a compelling reappraisal of Vietnamese modernism through an exceptional selection of paintings, lacquer works and sculptures. Distinguished by its scholarly depth and thoughtful curatorial vision, the exhibition illuminates the artistic encounters, material innovations and cultural exchanges that shaped Vietnamese art in the twentieth century, marking a significant contribution to its international recognition and appreciation.\n\tThe history of Vietnamese modern art has often been understood through the encounter between European academic traditions and Vietnam’s artistic heritage. Central to this history is the \u00c9cole des Beaux-Arts de l’Indochine, founded in Hanoi in 1924. Yet the significance of Vietnamese modernism extends far beyond the transmission of French influence. Its distinctive achievement lies in the ways artists absorbed, reinterpreted and transformed different visual traditions into languages of their own.\n

\u0110\u01b0\u1ee3c t\u1ed5 ch\u1ee9c t\u1ea1i DE SARTHE, H\u1ed3ng K\u00f4ng, tri\u1ec3n l\u00e3m Echoes of Tonkin: Vietnamese Modern Art (V\u1ecdng \u0110\u00f4ng Kinh: M\u1ef9 thu\u1eadt hi\u1ec7n \u0111\u1ea1i Vi\u1ec7t Nam) m\u1edf ra m\u1ed9t c\u00e1ch nh\u00ecn s\u00e2u s\u1eafc v\u1ec1 l\u1ecbch s\u1eed \u1ea5y. Quy t\u1ee5 m\u01b0\u1eddi b\u1ed1n t\u00e1c ph\u1ea9m hi\u1ec7n \u0111\u1ea1i c\u00f3 ni\u00ean \u0111\u1ea1i t\u1eeb kho\u1ea3ng n\u0103m 1905 \u0111\u1ebfn n\u0103m 1960, c\u00f9ng hai pho t\u01b0\u1ee3ng Ch\u0103m, tri\u1ec3n l\u00e3m kh\u1ea3o s\u00e1t nh\u1eefng m\u1ed1i li\u00ean h\u1ec7 gi\u1eefa giao l\u01b0u ngh\u1ec7 thu\u1eadt, s\u1ef1 c\u00e1ch t\u00e2n ch\u1ea5t li\u1ec7u, b\u1ea3n s\u1eafc v\u0103n h\u00f3a v\u00e0 k\u00fd \u1ee9c.<\/p>\n

\u0110\u1ed3ng gi\u00e1m tuy\u1ec3n b\u1edfi Leah \u0110\u1ed7 v\u00e0 Tr\u1ea7n \u0110\u00ecnh Th\u1ee5c \u0110oan, v\u1edbi s\u1ef1 c\u1ed1 v\u1ea5n h\u1ecdc thu\u1eadt c\u1ee7a Jean-Fran\u00e7ois Hubert, tri\u1ec3n l\u00e3m n\u1ed5i b\u1eadt b\u1edfi s\u1ef1 tuy\u1ec3n ch\u1ecdn c\u00f4ng phu v\u00e0 nh\u1eefng cu\u1ed9c \u0111\u1ed1i tho\u1ea1i \u0111\u01b0\u1ee3c ki\u1ebfn t\u1ea1o gi\u1eefa c\u00e1c t\u00e1c ph\u1ea9m thu\u1ed9c nhi\u1ec1u th\u1eddi k\u1ef3, truy\u1ec1n th\u1ed1ng ngh\u1ec7 thu\u1eadt kh\u00e1c nhau.<\/p>\n

\n\t\t\t\t\t\"Pascal\n\t\t
Pascal de Sarthe, Mai Trung Thu’s Grandson, Boi Tran and co-curator Tran Dinh Thuc Doan<\/figcaption>\n\t<\/figure>\n\t

Nh\u1eefng cu\u1ed9c g\u1eb7p g\u1ee1 v\u00e0 chuy\u1ec3n h\u00f3a ngh\u1ec7 thu\u1eadt<\/h2>\n

The exhibition opens with two paintings by Albert C\u00e9zard, dating from around 1905, whose contrasting depictions of river activity and domestic life reveal different ways of observing Vietnam before the foundation of the \u00c9cole des Beaux-Arts de l’Indochine.<\/p>\n

B\u1ee9c Portrait d\u2019homme (Ch\u00e2n dung ng\u01b0\u1eddi \u0111\u00e0n \u00f4ng) c\u1ee7a Victor Tardieu, s\u00e1ng t\u00e1c kho\u1ea3ng n\u0103m 1923, \u0111\u01b0a ng\u01b0\u1eddi xem \u0111\u1ebfn m\u1ed9t m\u1ed1i quan t\u00e2m kh\u00e1c: c\u00e1 t\u00ednh v\u00e0 chi\u1ec1u s\u00e2u t\u00e2m l\u00fd c\u1ee7a nh\u00e2n v\u1eadt. Nh\u1eefng t\u00e1c ph\u1ea9m n\u00e0y t\u1ea1o d\u1ef1ng m\u1ed9t b\u1ed1i c\u1ea3nh l\u1ecbch s\u1eed \u0111\u00e1ng qu\u00fd \u0111\u1ec3 nh\u1eadn di\u1ec7n nh\u1eefng chuy\u1ec3n bi\u1ebfn ngh\u1ec7 thu\u1eadt v\u1ec1 sau.<\/p>\n

B\u1ee9c Le Bol bleu (Chi\u1ebfc b\u00e1t xanh) c\u1ee7a L\u00ea Ph\u1ed5, s\u00e1ng t\u00e1c n\u0103m 1930, c\u0169ng l\u00e0 n\u0103m \u00f4ng t\u1ed1t nghi\u1ec7p Tr\u01b0\u1eddng M\u1ef9 thu\u1eadt \u0110\u00f4ng D\u01b0\u01a1ng, ti\u00eau bi\u1ec3u cho kh\u1ea3 n\u0103ng s\u00e1ng t\u1ea1o n\u1ea3y sinh t\u1eeb cu\u1ed9c g\u1eb7p g\u1ee1 gi\u1eefa c\u00e1c truy\u1ec1n th\u1ed1ng. Kh\u00f4ng gian m\u1ed9t gia \u0111\u00ecnh kh\u00e1 gi\u1ea3 \u1edf mi\u1ec1n B\u1eafc Vi\u1ec7t Nam \u0111\u01b0\u1ee3c th\u1ec3 hi\u1ec7n b\u1eb1ng nh\u1eefng nguy\u00ean l\u00fd b\u1ed1 c\u1ee5c h\u00e0n l\u00e2m ch\u00e2u \u00c2u, nh\u01b0ng v\u1eabn l\u01b0u gi\u1eef m\u1ed9t c\u1ea3m quan ri\u00eang v\u1ec1 v\u0103n h\u00f3a b\u1ea3n \u0111\u1ecba v\u00e0 v\u1ebb tinh t\u1ebf c\u1ee7a ch\u1ea5t li\u1ec7u l\u1ee5a.<\/p>\n

\u1ede \u0111\u00e2y, hai truy\u1ec1n th\u1ed1ng th\u1ecb gi\u00e1c kh\u00f4ng \u0111\u01a1n thu\u1ea7n c\u00f9ng hi\u1ec7n di\u1ec7n, m\u00e0 \u0111\u01b0\u1ee3c chuy\u1ec3n h\u00f3a th\u00e0nh m\u1ed9t ng\u00f4n ng\u1eef h\u1ed9i h\u1ecda th\u1ed1ng nh\u1ea5t.<\/p>\n\t

S\u01a1n m\u00e0i v\u00e0 tinh th\u1ea7n hi\u1ec7n \u0111\u1ea1i<\/h2>\n

Among the exhibition’s notable achievements is its presentation of lacquer as one of the most sophisticated expressions of Vietnamese modern art.<\/p>\n

Trong La jeune femme et le fleuve (Thi\u1ebfu n\u1eef v\u00e0 d\u00f2ng s\u00f4ng) c\u1ee7a Alix Aym\u00e9, s\u1eafc v\u00e0ng \u0111\u1ed3ng th\u1eddi tr\u1edf th\u00e0nh b\u1ea7u tr\u1eddi v\u00e0 m\u1eb7t n\u01b0\u1edbc, \u0111\u01b0\u1ee3c ph\u00e2n bi\u1ec7t b\u1eb1ng nh\u1eefng bi\u1ebfn \u0111\u1ed5i tinh vi c\u1ee7a k\u1ebft c\u1ea5u v\u00e0 \u00e1nh ph\u1ea3n chi\u1ebfu. Ch\u1ea5t li\u1ec7u, v\u00ec th\u1ebf, tr\u1ef1c ti\u1ebfp tham gia v\u00e0o vi\u1ec7c ki\u1ebfn t\u1ea1o kh\u00f4ng gian h\u1ed9i h\u1ecda.<\/p>\n

Chi\u1ebfc h\u1ed9p s\u01a1n m\u00e0i House near the River (Ng\u00f4i nh\u00e0 b\u00ean s\u00f4ng) c\u1ee7a Ph\u1ea1m H\u1eadu m\u1edf r\u1ed9ng kh\u1ea3 n\u0103ng s\u00e1ng t\u1ea1o ra ngo\u00e0i khu\u00f4n kh\u1ed5 b\u1ee9c tranh truy\u1ec1n th\u1ed1ng, bi\u1ebfn to\u00e0n b\u1ed9 v\u1eadt th\u1ec3 th\u00e0nh m\u1ed9t ch\u1ec9nh th\u1ec3 t\u1ea1o h\u00ecnh.<\/p>\n

\u0110\u1ebfn Bateaux dans la baie d\u2019Halong (Nh\u1eefng con thuy\u1ec1n tr\u00ean v\u1ecbnh H\u1ea1 Long), s\u00e1ng t\u00e1c n\u0103m 1960, Nguy\u1ec5n Gia Tr\u00ed mang \u0111\u1ebfn m\u1ed9t c\u00e1ch bi\u1ec3u \u0111\u1ea1t tr\u1ea7m l\u1eafng h\u01a1n. S\u1eafc m\u00e0u ti\u1ebft ch\u1ebf c\u00f9ng nh\u1eefng h\u00ecnh th\u1ec3 gi\u1ea3n l\u01b0\u1ee3c g\u1ee3i n\u00ean m\u1ed9t phong c\u1ea3nh nh\u01b0 \u0111\u00e3 \u0111\u01b0\u1ee3c ch\u1eaft l\u1ecdc qua mi\u1ec1n h\u1ed3i t\u01b0\u1edfng.<\/p>\n

\u0110\u1eb7t trong m\u1ed1i t\u01b0\u01a1ng quan, c\u00e1c t\u00e1c ph\u1ea9m l\u00e0m s\u00e1ng t\u1ecf s\u1ef1 ph\u00e1t tri\u1ec3n c\u1ee7a s\u01a1n m\u00e0i th\u00e0nh m\u1ed9t ng\u00f4n ng\u1eef ngh\u1ec7 thu\u1eadt hi\u1ec7n \u0111\u1ea1i \u0111\u1eb7c s\u1eafc, n\u01a1i k\u1ef9 thu\u1eadt \u0111i\u00eau luy\u1ec7n h\u00f2a quy\u1ec7n c\u00f9ng s\u1ee9c s\u00e1ng t\u1ea1o phong ph\u00fa.<\/p>\n\t

Kho\u1ea3ng c\u00e1ch, k\u00fd \u1ee9c v\u00e0 b\u1ea3n s\u1eafc ngh\u1ec7 thu\u1eadt<\/h2>\n

Tri\u1ec3n l\u00e3m c\u00f2n g\u1ee3i m\u1edf m\u1ed1i quan h\u1ec7 gi\u1eefa tr\u00ed t\u01b0\u1edfng t\u01b0\u1ee3ng ngh\u1ec7 thu\u1eadt v\u00e0 kho\u1ea3ng c\u00e1ch \u0111\u1ecba l\u00fd.<\/p>\n

Trong pho t\u01b0\u1ee3ng \u0111\u1ea5t nung T\u00eate de femme (\u0110\u1ea7u ng\u01b0\u1eddi ph\u1ee5 n\u1eef) c\u1ee7a V\u0169 Cao \u0110\u00e0m, s\u00e1ng t\u00e1c kho\u1ea3ng n\u0103m 1939, nh\u1eefng h\u00ecnh th\u1ec3 gi\u1ea3n l\u01b0\u1ee3c v\u00e0 l\u00fd t\u01b0\u1edfng h\u00f3a cho th\u1ea5y s\u1ef1 d\u1ecbch chuy\u1ec3n t\u1eeb quan s\u00e1t tr\u1ef1c ti\u1ebfp sang h\u00ecnh \u1ea3nh \u0111\u01b0\u1ee3c \u0111\u1ecbnh h\u00ecnh b\u1edfi k\u00fd \u1ee9c. Nh\u1eefng d\u1ea5u v\u1ebft ng\u00f3n tay v\u00e0 c\u00f4ng c\u1ee5 c\u00f2n l\u01b0u gi\u1eef \u1edf m\u1eb7t sau t\u00e1c ph\u1ea9m nh\u1eafc \u0111\u1ebfn s\u1ef1 hi\u1ec7n di\u1ec7n g\u1ea7n g\u0169i c\u1ee7a b\u00e0n tay ng\u01b0\u1eddi ngh\u1ec7 s\u0129 trong qu\u00e1 tr\u00ecnh t\u1ea1o t\u00e1c.<\/p>\n

B\u1ee9c M\u00e8re et enfant (M\u1eb9 v\u00e0 con) c\u1ee7a Mai Trung Th\u1ee9, s\u00e1ng t\u00e1c n\u0103m 1959, l\u1ea1i bi\u1ec3u \u0111\u1ea1t m\u1ed9t v\u1ebb \u0111\u1eb9p k\u00edn \u0111\u00e1o kh\u00e1c. Qua s\u1ef1 giao c\u1ea3m tinh t\u1ebf gi\u1eefa nh\u1eefng c\u1eed ch\u1ec9 c\u1ee7a m\u1eb9 v\u00e0 con, ng\u01b0\u1eddi h\u1ecda s\u0129 truy\u1ec1n t\u1ea3i t\u00ecnh m\u1eabu t\u1eed v\u00e0 s\u1ef1 chi\u00eam nghi\u1ec7m b\u1eb1ng m\u1ed9t ng\u00f4n ng\u1eef t\u1ea1o h\u00ecnh h\u1ebft s\u1ee9c h\u00e0m s\u00fac.<\/p>\n

The inclusion of two Cham sculptures, representing the Buddha and Ganesha, further enriches the exhibition’s historical perspective. Their presence recalls the diversity of artistic and religious traditions that flourished across the territories of present-day Vietnam, extending the exhibition’s intellectual horizon far beyond the emergence of twentieth-century modernism.<\/p>\n\t

DE SARTHE: Gi\u00e1 tr\u1ecb h\u1ecdc thu\u1eadt v\u00e0 t\u1ea7m nh\u00ecn gi\u00e1m tuy\u1ec3n<\/h2>\n

Gi\u00e1 tr\u1ecb \u0111\u1eb7c s\u1eafc c\u1ee7a V\u1ecdng \u0110\u00f4ng Kinh kh\u00f4ng ch\u1ec9 n\u1eb1m \u1edf ph\u1ea9m ch\u1ea5t ngh\u1ec7 thu\u1eadt c\u1ee7a nh\u1eefng t\u00e1c ph\u1ea9m \u0111\u01b0\u1ee3c gi\u1edbi thi\u1ec7u, m\u00e0 c\u00f2n \u1edf s\u1ef1 tinh t\u1ebf trong t\u01b0 duy tr\u01b0ng b\u00e0y. Echoes of Tonkin<\/em> lies not only in the quality of its works, but also in the intelligence of their presentation.<\/p>\n

D\u01b0\u1edbi s\u1ef1 \u0111i\u1ec1u h\u00e0nh c\u1ee7a Pascal de Sarthe, c\u00f9ng s\u1ef1 c\u1ed9ng t\u00e1c v\u1edbi hai \u0111\u1ed3ng gi\u00e1m tuy\u1ec3n Leah Do v\u00e0 Tr\u1ea7n \u0110\u00ecnh Th\u1ee5c \u0110oan, DE SARTHE \u0111\u00e3 quy t\u1ee5 nh\u1eefng t\u00e1c ph\u1ea9m \u0111\u00e1ng ch\u00fa \u00fd trong m\u1ed9t c\u1ea5u tr\u00fac l\u1ecbch s\u1eed m\u1ef9 thu\u1eadt ch\u1eb7t ch\u1ebd v\u00e0 gi\u00e0u s\u1ee9c g\u1ee3i.<\/p>\n

V\u1edbi n\u1ec1n t\u1ea3ng nghi\u00ean c\u1ee9u c\u1ea9n tr\u1ecdng, h\u1ed3 s\u01a1 xu\u1ea5t x\u1ee9 v\u00e0 m\u1ed9t \u1ea5n ph\u1ea9m tri\u1ec3n l\u00e3m \u0111\u01b0\u1ee3c bi\u00ean so\u1ea1n c\u00f4ng phu, d\u1ef1 \u00e1n cho th\u1ea5y kh\u1ea3 n\u0103ng \u0111\u00f3ng g\u00f3p thi\u1ebft th\u1ef1c c\u1ee7a m\u1ed9t gallery th\u01b0\u01a1ng m\u1ea1i \u0111\u1ed1i v\u1edbi c\u00f4ng t\u00e1c nghi\u00ean c\u1ee9u h\u1ecdc thu\u1eadt v\u00e0 giao l\u01b0u v\u0103n h\u00f3a qu\u1ed1c t\u1ebf.<\/p>\n

S\u1ef1 tin t\u01b0\u1edfng v\u00e0 l\u00f2ng h\u00e0o ph\u00f3ng c\u1ee7a c\u00e1c nh\u00e0 s\u01b0u t\u1eadp, nh\u1eefng ng\u01b0\u1eddi cho m\u01b0\u1ee3n t\u00e1c ph\u1ea9m, c\u0169ng gi\u1eef vai tr\u00f2 thi\u1ebft y\u1ebfu, t\u1ea1o \u0111i\u1ec1u ki\u1ec7n \u0111\u1ec3 nh\u1eefng s\u00e1ng t\u00e1c thu\u1ed9c nhi\u1ec1u b\u1ed9 s\u01b0u t\u1eadp kh\u00e1c nhau c\u00f9ng hi\u1ec7n di\u1ec7n trong m\u1ed9t cu\u1ed9c \u0111\u1ed1i tho\u1ea1i l\u1ecbch s\u1eed.<\/p>\n

Tr\u00ean h\u1ebft, V\u1ecdng \u0110\u00f4ng Kinh kh\u1eb3ng \u0111\u1ecbnh r\u1eb1ng m\u1ef9 thu\u1eadt hi\u1ec7n \u0111\u1ea1i Vi\u1ec7t Nam x\u1ee9ng \u0111\u00e1ng \u0111\u01b0\u1ee3c ghi nh\u1eadn kh\u00f4ng ch\u1ec9 b\u1edfi nh\u1eefng \u1ea3nh h\u01b0\u1edfng \u0111\u00e3 ti\u1ebfp nh\u1eadn, m\u00e0 c\u00f2n b\u1edfi t\u00ednh \u0111\u1ed9c s\u00e1ng v\u00e0 nh\u1eefng th\u00e0nh t\u1ef1u ngh\u1ec7 thu\u1eadt c\u1ee7a ch\u00ednh c\u00e1c h\u1ecda s\u0129, nh\u00e0 \u0111i\u00eau kh\u1eafc \u0111\u00e3 g\u00f3p ph\u1ea7n t\u1ea1o d\u1ef1ng n\u00ean l\u1ecbch s\u1eed \u1ea5y.<\/p>\n

B\u1eb1ng s\u1ef1 tuy\u1ec3n ch\u1ecdn tinh t\u01b0\u1eddng v\u00e0 tinh th\u1ea7n kh\u1ea3o c\u1ee9u nghi\u00eam c\u1ea9n, DE SARTHE \u0111\u00e3 c\u00f3 m\u1ed9t \u0111\u00f3ng g\u00f3p \u0111\u00e1ng tr\u00e2n tr\u1ecdng v\u00e0o vi\u1ec7c nghi\u00ean c\u1ee9u, gi\u1edbi thi\u1ec7u v\u00e0 kh\u1eb3ng \u0111\u1ecbnh v\u1ecb th\u1ebf c\u1ee7a m\u1ef9 thu\u1eadt Vi\u1ec7t Nam tr\u00ean tr\u01b0\u1eddng qu\u1ed1c t\u1ebf.<\/p>\n\t

Th\u00f4ng tin tri\u1ec3n l\u00e3m<\/h3>\nV\u1ecdng \u0110\u00f4ng Kinh: M\u1ef9 thu\u1eadt hi\u1ec7n \u0111\u1ea1i Vi\u1ec7t Nam<\/strong>
\n\u0110\u1ecba \u0111i\u1ec3m:<\/strong> DE SARTHE, Hong Kong
\nTh\u1eddi gian:<\/strong> 10 October – 21 November 2026
\n\u0110\u1ed3ng gi\u00e1m tuy\u1ec3n:<\/strong> Leah \u0110\u1ed7 v\u00e0 Tr\u1ea7n \u0110\u00ecnh Th\u1ee5c \u0110oan\n

Nh\u00e0 V\u01b0\u1eddn B\u1ed9i Tr\u00e2n tr\u00e2n tr\u1ecdng g\u1eedi l\u1eddi ch\u00fac m\u1eebng \u0111\u1ebfn \u00f4ng Pascal de Sarthe c\u00f9ng to\u00e0n th\u1ec3 \u0111\u1ed9i ng\u0169 DE SARTHE nh\u00e2n d\u1ecbp tri\u1ec3n l\u00e3m V\u1ecdng \u0110\u00f4ng Kinh.<\/p>\n

\n\t\t\tB\u1ea1n c\u00f3 th\u1ec3 quan t\u00e2m\t<\/h2>","protected":false},"excerpt":{"rendered":"

\u0110\u01b0\u1ee3c t\u1ed5 ch\u1ee9c t\u1ea1i DE SARTHE, H\u1ed3ng K\u00f4ng, tri\u1ec3n l\u00e3m V\u1ecdng \u0110\u00f4ng Kinh: M\u1ef9 thu\u1eadt hi\u1ec7n \u0111\u1ea1i Vi\u1ec7t Nam m\u1edf ra m\u1ed9t c\u00e1ch nh\u00ecn s\u00e2u s\u1eafc v\u1ec1 ti\u1ebfn tr\u00ecnh h\u00ecnh th\u00e0nh v\u00e0 ph\u00e1t tri\u1ec3n c\u1ee7a m\u1ef9 thu\u1eadt Vi\u1ec7t Nam th\u1ebf k\u1ef7 XX. Qua s\u1ef1 tuy\u1ec3n ch\u1ecdn tinh t\u01b0\u1eddng nh\u1eefng t\u00e1c ph\u1ea9m h\u1ed9i h\u1ecda, s\u01a1n m\u00e0i v\u00e0 \u0111i\u00eau kh\u1eafc, c\u00f9ng t\u01b0 duy gi\u00e1m tuy\u1ec3n gi\u00e0u chi\u1ec1u s\u00e2u h\u1ecdc thu\u1eadt, tri\u1ec3n l\u00e3m l\u00e0m s\u00e1ng t\u1ecf nh\u1eefng cu\u1ed9c giao l\u01b0u ngh\u1ec7 thu\u1eadt, nh\u1eefng t\u00ecm t\u00f2i v\u1ec1 ch\u1ea5t li\u1ec7u v\u00e0 s\u1ef1 chuy\u1ec3n h\u00f3a ng\u00f4n ng\u1eef t\u1ea1o h\u00ecnh, qua \u0111\u00f3 \u0111\u00f3ng g\u00f3p \u0111\u00e1ng tr\u00e2n tr\u1ecdng v\u00e0o vi\u1ec7c nghi\u00ean c\u1ee9u v\u00e0 kh\u1eb3ng \u0111\u1ecbnh v\u1ecb th\u1ebf c\u1ee7a m\u1ef9 thu\u1eadt Vi\u1ec7t Nam tr\u00ean tr\u01b0\u1eddng qu\u1ed1c t\u1ebf.<\/p>","protected":false},"author":4,"featured_media":8636,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[183,186],"tags":[191,193,194,192,118],"class_list":["post-8598","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-art","category-exhibitions","tag-de-sarthe","tag-echoes-of-tonkin","tag-leah-do","tag-pascal-de-sarthe","tag-tran-dinh-thuc-doan"],"_links":{"self":[{"href":"https:\/\/boitran.com\/vi\/wp-json\/wp\/v2\/posts\/8598","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\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/boitran.com\/vi\/wp-json\/wp\/v2\/comments?post=8598"}],"version-history":[{"count":8,"href":"https:\/\/boitran.com\/vi\/wp-json\/wp\/v2\/posts\/8598\/revisions"}],"predecessor-version":[{"id":8627,"href":"https:\/\/boitran.com\/vi\/wp-json\/wp\/v2\/posts\/8598\/revisions\/8627"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/boitran.com\/vi\/wp-json\/wp\/v2\/media\/8636"}],"wp:attachment":[{"href":"https:\/\/boitran.com\/vi\/wp-json\/wp\/v2\/media?parent=8598"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/boitran.com\/vi\/wp-json\/wp\/v2\/categories?post=8598"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/boitran.com\/vi\/wp-json\/wp\/v2\/tags?post=8598"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}