I can affirm that Tran Nguyen Dung is a Hanoi native because he has a refined and introspective demeanor, enjoys privacy, and possesses the poetic musings of a “Scholar from Bac Ha” more than the characteristics of a contemporary artist. However, his art contradicts this demeanor; his paintings are figurative and vibrant yet not hasty or accidental. The lines and strokes are dense and accumulated, still carrying the quiet and reserved essence of East Asian art.

Butterflies, flowers, maidens, and more blossom radiantly in a spring garden, full of nuances under the ripe and satisfying sunlight of both nature and human beings, leading the viewers to a paradise of peace and happiness.
Therefore, when viewing Dung’s paintings, one appreciates his sincere sentiment towards art. Perhaps this affection arises from the fact that, while seeking his own self, he is also drawing closer to others and the future of the world of art. This can be seen in his meticulous and impressionistic style of detailed analysis in some of his large-scale oil paintings, for example: “Tet flower market,” “Chrysanthemum flower market,” “In the garden,” “Peach blossom market,” “Dragon dance,” “Rice harvest,” “Planting season,” etc. In these details, the geometric patterns are exploited and inherited from the traditional Vietnamese decoration, imbuing his paintings with a strong national identity.
Although he has not gained a strong reputation like some other fortunate artists, Tran Nguyen Dung is respected for his unflagging and honest character like that of a “Scholar from Bac Ha.”
Tran Nguyen Dung’s paintings have their own path of exploration, from a world of events to the world of psychology. He has affirmed himself through the challenging path of painting which he has pursued passionately for the past five decades.

Tran Sinh Nha, Director of the Art and Cultural Products Joint Stock Company