Bài mẫu
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The work I'd like to describe is a painting called Thiếu nữ bên hoa huệ, or Young Woman with Lilies, by the Vietnamese painter Tô Ngọc Vân, from 1943. I first came across it in a secondary school art textbook, where it was printed small and slightly blurry, and I didn't think much of it. Then, in my first year of university, I walked into a café near the campus and there was a large print of it filling the whole back wall, and I finally understood why it's so famous. It shows a young woman in a white áo dài sitting on a low stool, leaning towards a vase of white lilies on a table. Her body curves in one long line from her tilted head down through her back, with one hand raised to her head and the other reaching towards the flowers, as if she's been looking at them for a long time. The colours are incredibly restrained — whites, pale greens, a little grey and a touch of warm skin tone — so nothing in the picture shouts. What I love about it, more than anything, is the stillness. Most paintings of women from that period that I know are about beauty on display, but she isn't posing for anyone; she seems completely absorbed in the flowers, and the viewer is almost intruding. There's also something quietly Vietnamese about it that I find hard to put into words: the áo dài, the lilies, the soft light, all done in a Western oil-painting technique but with a sensibility that feels entirely local. I'm not someone who visits galleries every month, but I keep a postcard-sized version of it pinned above my desk, and on stressful days I look at it for a few seconds and, honestly, it works better than a coffee.