{"id":5706,"date":"2024-11-26T03:33:37","date_gmt":"2024-11-26T03:33:37","guid":{"rendered":"https:\/\/art.qweb.com.vn\/?p=5706"},"modified":"2025-11-29T03:26:38","modified_gmt":"2025-11-29T03:26:38","slug":"in-dazzling-palimpsests-seized-kieus-poetic-residues","status":"publish","type":"post","link":"https:\/\/artnation.vn\/en\/in-dazzling-palimpsests-seized-kieus-poetic-residues\/","title":{"rendered":"In dazzling palimpsests seized Kieu\u2019s poetic residues"},"content":{"rendered":"
\"\"
Mai Trung Thu, \u201cThuy Kieu playing the Vietnamese pipa for Kim Trong\u201d, excerpted from \u201cKim Van Kieu\u201d, Literature Publishing House (1951).<\/span><\/figcaption><\/figure>\n

When Nguyen Dang Tuyen, Master of Temple Mong Lien<\/span>1<\/span> \u2013 a contemporaneous kindred spirit of Nguyen Du \u2013 prefaced the epic poem \u201cDoan truong tan thanh (\u65b7\u8178\u65b0\u8072, A new cry from a broken heart)\u201d with the memorable turn of phrase, \u201cThe story of romantic love is ever the same, yet the cry of woe is henceforth heard anew,\u201d perhaps it was already destined for a spectacular fate: over two centuries since its creation, the poem\u2019s old lament continues to be endowed with new voices and forms.<\/span><\/p>\n

Indeed, amidst the turbulence of the mid-20<\/span>th<\/span> century, two lavishly illustrated editions of \u201cThe Tale of Kieu\u201d (\u201cKieu\u201d) appeared within the span of a single decade. Published to mark the centenary of the great poet\u2019s passing, the collection \u201cCommemorating Nguyen Du: An Illustrated Book of Verse\u201d (Quang Tri Hue Publishing House, 1942), compiled by Prof Dao Duy Anh, is still recognised as a rare and ambitious interdisciplinary undertaking, assembling 11 illustrated plates by some of the foremost artists of the Indochina period.\u00a0<\/span><\/p>\n

While less frequently mentioned in contemporary accounts, the 1951 edition of \u201cKim Van Kieu\u201d has earned the praise of scholars like Vuong Hong Sen who hailed it, among his vast collection of books, as \u201ca collector\u2019s treasure, a delight for moments of reverie.\u201d<\/span>2<\/span> This rendition features 6 illustrated paintings from renowned graduates of the Indochina School of Fine Arts: Pham Thuc Chuong, Le Pho, Vu Cao Dam, Mai Trung Thu, Le Thi Luu, and Japanese artist Sekiguchi Shungo. Thus, just nine years after the 1942 collection, the most notable painters of the period were once again united to illuminate Nguyen Du\u2019s magnum opus.<\/span><\/p>\n

\"\"
Nguyen Du, excerpted from \u201cKim Van Kieu\u201d, Literature Publishing House (1951), p.1.<\/span><\/figcaption><\/figure>\n
\"\"
Nguyen Du, excerpted from \u201cKim Van Kieu\u201d, Literature Publishing House (1951), p.2.<\/span><\/figcaption><\/figure>\n
\"\"
Nguyen Du, excerpted from \u201cKim Van Kieu\u201d, Literature Publishing House (1951), p.3.<\/span><\/figcaption><\/figure>\n
\"\"
Nguyen Du, excerpted from \u201cKim Van Kieu\u201d, Literature Publishing House (1951), p.4.<\/span><\/figcaption><\/figure>\n

The emergence of two ambitious projects at the intersection of literature and art, both based on the same source text within a short span of time, not only reflects the effort to disseminate and preserve the Sino-Nom heritage within the 20<\/span>th<\/span>-century reception of \u201cKieu,\u201d but also reaffirms the work\u2019s enduring resonance in the realm of visual arts. The poem\u2019s 3,254 verses have long held a central place in Vietnamese aesthetic sensibility, giving rise to a wealth of imagery rooted in the collective imagination as enduring benchmarks of beauty, both in form and consciousness. Numerous studies have been devoted to meticulously analysing the aesthetic categories of Nguyen Du\u2019s exquisite representational landscape. It is against this backdrop that one can trace the origins and literary positioning of \u201cKim Van Kieu\u201d (1951) \u2013 a work imbued with the spirit of refined beauty from the very first page.<\/span><\/p>\n

Despite limited documentation concerning the book\u2019s production, e.g. liaisons with artists and selections of verses for illustration, the preface alone reveals that the publisher had devoted exceptional care to curating a reading experience worthy of the epic poem: \u201cAn edition of \u2018Kim Van Kieu\u2019 printed with elegance and sophistication has long been the wish of many readers and book lovers alike, and is also the ambition of every Vietnamese publisher. […] Fine books adorning patterned poise, fine arts shaping poetry and lyrics \u2013 we humbly confine our tasks to these two aims.\u201d Except for the two pages of the preface set in letterpress type, the entire poem is rendered in Pham Ngoc Tuan\u2019s graceful modern penmanship. Printed on large ivory-coloured sheets, every page is neatly framed within an ornamental border, a golden dragon motif faintly embossed underneath the text, turning the book into an artwork in its own right.<\/span><\/p>\n

A colophon on the last page of the book identifies the printer as Imprimerie Paul Dupont \u2013 a French printing press renowned for its chromolithographic posters. This affiliation helps explain the collaboration between the Vietnam-based publishing house and the contributing artists, all of whom were then living in France. In light of this, the plates in \u201cKim Van Kieu\u201d stand apart from those in other contemporaneous publications of the same genre, such as \u201cA Rural Landscape\u201d by Anh Tho, in collaboration with artist To Ngoc Van (This Life Publishing House, 1941); \u201cEchoes and Shadow of a Bygone Era\u201d by Nguyen Tuan, featuring artist Do Cung (Times Publishing House, 1943); and the aforementioned \u201cCommemorating Nguyen Du: An Illustrated Book of Verse.\u201d Whereas these books were produced by woodblock printing on do paper – the prevailing method for reproducing art in Vietnam until the mid-20th century, the plates in \u201cKim Van Kieu\u201d were machine-printed in France, presenting a markedly different aesthetic characterised by a freer, more fluid interplay of colours, rather than bold forms and sharply defined lines typical of the woodcut tradition.\u00a0<\/span><\/p>\n

\u201cPrinted on large ivory-coloured sheets, every page of verse is neatly framed within an ornamental border, a golden dragon motif faintly embossed underneath the text, turning the book into an artwork in its own right.\u201d<\/i><\/b><\/p>\n

With regards to the plates, compared to the collection \u201cCommemorating Nguyen Du: An Illustrated Book of Verse\u201d, which devotes a full page to numbering and specifying each depicted verse, \u201cKim Van Kieu\u201d only contains two out of six plates bearing artists\u2019 inscriptions of the corresponding verses. The rest\u00a0 focus mainly on early episodes in the tale, specifically the romance between Thuy Kieu and Kim Trong. Whether this editorial decision was deliberate remains uncertain; nevertheless, it signals that the illustrations were not intended merely to support the linear plotline, but to serve a distinct aesthetic function, allowing the artists, now co-authors of the hybrid text, to freely chart their own aesthetic currents.<\/span><\/p>\n

The first plate by Pham Thuc Chuong is one of the two illustrations labelled with the lines:<\/span><\/p>\n

\u201cForlorn, he missed the scene, he missed the girl:
\nhe rushed back where by chance the two had met.\u201c
\n<\/span><\/p>\n

\"\"
Pham Thuc Chuong, \u201cHe rushed back where by chance the two had met\u201d, excerpted <\/span>from \u201cKim Van Kieu\u201d, Literature Publishing House (1951).<\/span><\/figcaption><\/figure>\n

A graduate of the Indochina School of Fine Arts who migrated to France in 1946, Pham Thuc Chuong was nevertheless deeply influenced by Eastern painting techniques and philosophy. In depicting the scene of Kim Trong returning alone to the place of his first encounter with Thuy Kieu after the spring festival, the artist adopts a wide perspective and an austere composition to reveal the character\u2019s profound melancholy in an equally pensive landscape: \u201cA tract of land with grasses lush and green \/ with waters crystal-clear: he saw naught else.\u201d In a restrained approach to symbolism attuned to East Asian sensibility, the focal subject in Pham Thuc Chuong\u2019s painting is no longer Kim Trong but the very texture of longing itself \u2013 a gentle yet palpable sorrow that permeates the entirety of the poem.<\/span>As if composing a couplet alongside the first plate, the second illustration by Japanese artist Sekiguchi Shungo extends the wandering cadence with a sweeping gaze, dwarfing the human figures just enough to conjure a sentiment. After completing his art studies at the \u00c9cole nationale sup\u00e9rieure des beaux-arts in Paris, Sekiguchi returned to Japan and was later appointed to work in Hanoi, before eventually settling down in France, where he produced his illustration for the 1951 \u201cKim Van Kieu\u201d.<\/span>4<\/span> As Prof Junquo Nimura notes, Sekiguchi most likely have read the 1941 Japanese translation of the poem, translated by writer Komatsu Kiyoshi from the French. Such an encounter, twice removed from the original text, might have eclipsed the poem\u2019s distinctive Vietnamese elements in the artist’s imagination, making it difficult to assign the work to any specific verse, instead evoking the impression of a landscape ukiyo-e<\/span>5<\/span>. However, from the image of the bridge arching across the middle distance and the willowing tree in the foreground, the illustration may be read alongside the lines:<\/span><\/p>\n

\u201cBelow a stream flowed clear, and by the bridge<\/span>
\na twilit willow rustled threads of silk.\u201d<\/span><\/p>\n

In his commentary on this verse, scholar Tran Trong Kim invokes the Eastern literary notion of the \u201cresidual waves of the text \u6587\u6709\u9918\u6ce2\u201d<\/span>6<\/span> \u2013 the subtle ripples that extend beyond the written word and impart onto the reader an aesthetic resonance that is at once dialogic and introspective. Sekiguchi\u2019s artwork very much embodies this intuited mode of interpretation, lending figurative brushstrokes to the poem\u2019s lingering echoes.<\/span><\/p>\n

\"\"
A landscape ukiyo-e of Sekiguchi Shungo, excerpted from \u201cKim Van Kieu\u201d, Literature Publishing House (1951).<\/span><\/figcaption><\/figure>\n

\u201cSekiguchi\u2019s artwork embodies this intuited mode of interpretation, employing figurative brushstrokes to give shape to the poem\u2019s lingering echoes.\u201d<\/i><\/b><\/p>\n

Unlike the suggestive, open-ended ambience evoked by the first two plates, the illustrations by the quartet Pho-Thu-Luu-Dam favour more detailed imagery to articulate the relationships between the characters. The two paintings by Vu Cao Dam and Le Pho display notable commonalities in composition and the use of colours, their vivid, luminous tones highlighting the fleeting moments of joy between Kim Trong and Thuy Kieu. Significantly, Vu Cao Dam revisited the scene of their exchange of vows in multiple iterations across his oeuvre, of which this plate serves as one example:<\/span><\/p>\n

\u201cHer words untied a knot within his breast\u2014<\/span>
\nto her he passed gold bracelets and red scarf.\u201d<\/span><\/p>\n

Similarly, Le Pho illustrates Thuy Kieu and Kim Trong\u2019s first meeting at the spring festival, with a verse inscribed in the lower right corner:<\/span><\/p>\n

\u201cYoung Vuong stepped forth and greeted him he knew<\/span>
\nWhile two shy maidens hid behind the flowers.\u201d<\/span><\/p>\n

\"\"
Le Pho, \u201cTwo shy maidens hid behind the flowers\u201d, excerpted from \u201cKim Van Kieu\u201d, Literature Publishing House (1951).<\/span><\/figcaption><\/figure>\n

In contrast to the lively, buoyant compositions of the two previous paintings, Mai Trung Thu\u2019s work captures with remarkable nuance the wistful ambiguity inflecting the characters\u2019 expressions and gestures as he portrays Thuy Kieu playing the Vietnamese pipa for Kim Trong on a silvery night:<\/span><\/p>\n

\u201cHe\u2019d hug his knees or he\u2019d hang down his head\u2014
\nhe\u2019d feel his entrails wrenching, knit his brows.
\n\u2018Indeed, a master\u2019s touch,\u2019 he said at last,
\n\u2018But it betrays such bitterness within!\u2019\u201d<\/p>\n

The scene comes to a still. Outside, drooping leaves hanging in suspension over the window, further accentuating the characters\u2019 inner emotional turmoils, as if foreshadowing the tragic fate that would become entwined with Kieu\u2019s artistic flair and temperament.<\/span><\/p>\n

Le Thi Luu concludes the six-plate series with a painting of Thuy Kieu and nun Giac Duyen. The composition brings to mind the lines:<\/span><\/p>\n

\u201cShe\u2019s made her home within the Bodhi gate\u2014
\nour grass-roofed cloister\u2019s not too far from here.\u201d<\/p>\n

\"\"
Le Thi Luu, \u201cThuy Kieu and nun Giac Duyen\u201d, excerpted from \u201cKim Van Kieu\u201d, Literature <\/span>Publishing House (1951).<\/span><\/figcaption><\/figure>\n

Writer Thuy Khue once remarked that Le Thi Luu\u2019s subject matter can be distilled into the word \u201cthieu\u201d (young): the young woman (thieu phu), the young girl (thieu nu), and the young child (thieu nhi). Her illustration cements this insight, as it stands as the only work in the series that does not depict the romantic plotline but rather turn its gaze towards notions of human solidarity and compassion, conveying the Buddhist ethos central to Nguyen Du\u2019s poetry. However, given the abundance of celebrated verses throughout \u201cThe Tale of Kieu,\u201d the artists\u2019 near-unanimous focus on young love \u2013 especially in a publication born from\u00a0 the ideal of \u201cabsolute beauty\u201d \u2013 suggests an aesthetic orientation in the reception of the poem among the modern, Western-educated artistic milieu.<\/span><\/p>\n

As one beautiful painting turns to the next, the concluding words of Literature Publishing House\u2019s preface continues to echo: \u201cReaders will easily discern each painter\u2019s distinctive artistry and subjects of interest. If the \u2018Book of Odes (Shijing)\u2019 served as an inspiration for poets and artists of old, then \u2018The Tale of Kieu\u2019 is modern Vietnam\u2019s very own \u2018Shijing.\u2019\u201d And while Indochinese painters receded into a bygone era, their illustrations nonetheless still inform and percolate the contemporary imaginations of the poem, embodying the Eastern aphorism \u201cpoetry contains painting; painting contains poetry \u8bd7\u4e2d\u6709\u753b, \u753b\u4e2d\u6709\u8bd7\u201d \u2013 all the while extending the compassion Nguyen Du bestows upon Kieu, one palimpsest at a time.<\/span><\/p>\n

Words & Translation: Nh\u1eadt Anh<\/span><\/p>\n

[1] Nguyen Dang Tuyen, also known as Master of Temple Mong Lien, was a Confucian
\nscholar in the Nguyen dynasty. He penned the preface to \u201cA new cry from a broken heart\u201d (The Tale of Kieu) in 1820.
\n[2] Vuong Hong Sen, \u201cBibliophilia,\u201d Tre Publishing House (2023), pp. 80-81.
\n[3] Nguyen Du, \u201cThe Tale of Kieu, a bilingual edition,\u201d translated by Huynh Sanh Thong, Yale University Press (1983).
\n[4] Junquo Nimura, \u201cSekiguchi Shungo\u2019s Vietnam \u2013 On the 1944 Exhibitions in Ha Noi and Saigon.\u201d Journal of Shirayuri\u2019s Women University, Vol. 57, Shirayuri Women\u2019s University (2021), p. 114.
\n[5] Ukiyo-e (\u6d6e\u4e16\u7d75 paintings of the floating world) was a genre that flourished in Japan from the 17th to the 19th centuries, depicting scenes of urban pleasures and beautiful landscapes.
\n[6] Tran Trong Kim, \u201cNguyen Du, The Tale of Kieu.\u201d Edited and annotated by Tran Trong Kim and Bui Ky, Literature Publishing House (2023), p. 31.<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

When Nguyen Dang Tuyen, Master of Temple Mong Lien1 \u2013 a contemporaneous kindred spirit of Nguyen Du \u2013 prefaced the epic poem \u201cDoan truong tan thanh (\u65b7\u8178\u65b0\u8072, A new cry from a broken heart)\u201d with the memorable turn of phrase, \u201cThe story of romantic love is ever the same, yet the cry of woe is […]\n","protected":false},"author":5,"featured_media":5716,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[21],"tags":[],"class_list":["post-5706","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-art-jacent"],"acf":[],"yoast_head":"\nIn dazzling palimpsests seized Kieu\u2019s poetic residues - Art Nation<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/artnation.vn\/en\/in-dazzling-palimpsests-seized-kieus-poetic-residues\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"In dazzling palimpsests seized Kieu\u2019s poetic residues\" \/>\n<meta property=\"og:description\" content=\"When Nguyen Dang Tuyen, Master of Temple Mong Lien1 \u2013 a contemporaneous kindred spirit of Nguyen Du \u2013 prefaced the epic poem \u201cDoan truong tan thanh (\u65b7\u8178\u65b0\u8072, A new cry from a broken heart)\u201d with the memorable turn of phrase, \u201cThe story of romantic love is ever the same, yet the cry of woe is [...]\" \/>\n<meta property=\"og:url\" content=\"https:\/\/artnation.vn\/en\/in-dazzling-palimpsests-seized-kieus-poetic-residues\/\" \/>\n<meta property=\"og:site_name\" content=\"Art Nation\" \/>\n<meta property=\"article:published_time\" content=\"2024-11-26T03:33:37+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2025-11-29T03:26:38+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/artnation.vn\/en\/wp-content\/uploads\/2025\/11\/Thuy-Kieu-dan-cho-Kim-Trong-Mai-Trung-Thu-1951-copy-scaled.webp\" \/>\n\t<meta property=\"og:image:width\" content=\"1986\" \/>\n\t<meta property=\"og:image:height\" content=\"2560\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/webp\" \/>\n<meta name=\"author\" content=\"Art Nation\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Art Nation\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"14 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/artnation.vn\/en\/in-dazzling-palimpsests-seized-kieus-poetic-residues\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/artnation.vn\/en\/in-dazzling-palimpsests-seized-kieus-poetic-residues\/\"},\"author\":{\"name\":\"Art Nation\",\"@id\":\"https:\/\/artnation.vn\/en\/#\/schema\/person\/bbc53c251ece846325437c3476449d7a\"},\"headline\":\"In dazzling palimpsests seized Kieu\u2019s poetic residues\",\"datePublished\":\"2024-11-26T03:33:37+00:00\",\"dateModified\":\"2025-11-29T03:26:38+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/artnation.vn\/en\/in-dazzling-palimpsests-seized-kieus-poetic-residues\/\"},\"wordCount\":2226,\"commentCount\":0,\"image\":{\"@id\":\"https:\/\/artnation.vn\/en\/in-dazzling-palimpsests-seized-kieus-poetic-residues\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/artnation.vn\/en\/wp-content\/uploads\/2025\/11\/Thuy-Kieu-dan-cho-Kim-Trong-Mai-Trung-Thu-1951-copy-scaled.webp\",\"articleSection\":[\"[Art]jacent\"],\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"https:\/\/artnation.vn\/en\/in-dazzling-palimpsests-seized-kieus-poetic-residues\/#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/artnation.vn\/en\/in-dazzling-palimpsests-seized-kieus-poetic-residues\/\",\"url\":\"https:\/\/artnation.vn\/en\/in-dazzling-palimpsests-seized-kieus-poetic-residues\/\",\"name\":\"In dazzling palimpsests seized Kieu\u2019s poetic residues - 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