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| Painter Tran Van Mang (right) chats with art lovers at his recent solo exhibition in Ho Chi Minh City. Photo: Maii Art Space |
At nearly 80 years old, with more than five decades holding a paintbrush, Tran Van Mang’s works have always carried a distinctive personal style. At his solo exhibition titled “Vọng” (Echo), held in Ho Chi Minh City in late March 2026, art lovers once again had the chance to experience that unique artistic voice.
Once famous as the record-holder for artworks depicting Bao Vinh Ancient Town, painter Mang has lived a quiet life in a house within the lower reaches of the Huong River. There, he cultivated a private artistic life, like a wandering soul playfully pursuing creativity. In this sanctuary, he painted tirelessly and remained devoted to the theme of the old town to the extent that people came to see him as an “expert” in preserving Bao Vinh’s memories.
Stacks of paintings about Bao Vinh, accumulated over the years, have been carefully rolled up and stored away. Looking through them reveals layered rooftops, pagodas and communal houses, floating river scenes, and traditional craft villages. All of these elements seem to preserve old values through a visual language infused with the painter’s deep affection as someone who grew up beside the ancient quarter. Recently, he surprised audiences by bringing more than 60 paintings of the old town, created over many years, to Saigon for exhibition.
With the theme “Echo,” the artist from the former Hue imperial capital introduced the beauty of his homeland to friends in southern Vietnam. Even more surprisingly, the exhibition marked an important turning point in his visual language. Familiar images such as old streets, waterways, rooftops, boats, and rows of trees no longer appear directly, but are transformed into visual symbols hidden beneath thick, bold layers of paint. “Echo” is therefore no longer simply a call to the past, but an echo of a creative life still unfolding.
Recently, the painter, born in 1949, also reunited with younger artists at Boi Tran Garden, showcasing works likened to those of a quiet “guardian of heritage.”
With only three paintings, viewers can already clearly sense his artistic personality. In “Phố Xanh” (Blue street), he leads viewers into a dreamlike space where deep blue tones envelop ancient houses, creating a quiet echo of urban life. In “Nắng qua làng” (Sunlight through the village), there is an explosion of light with strong, decisive brushstrokes; patches of orange, green, and white intertwine to create a vibrant dance, recreating nature illuminated through direct painting. Finally, “Mùa đông” (Winter) presents a contemplative perspective. Dark, dense oil-paint layers create a solemn atmosphere, capturing the deep melancholy characteristic of winter in Hue.
These works showcase the elderly painter’s talent through his ability to capture the “stillness” of ancient urban spaces with a calm yet powerful artistic vision. Viewers are impressed by his distinctive handling of materials and color in direct painting. Rather than focusing on detailed physical forms, he emphasizes the expression of memory and light. Thick layers of oil paint overlap so densely that forms sometimes dissolve, creating surfaces rich in emotion and temporal depth.
“I have to change,” said painter Tran Van Mang. This refers not only to changing how he presents himself to the public but also to transforming his artistic style in ways that feel fresh while still retaining familiar lines and nostalgic color blocks.
“In this later period, the lines and forms in my paintings have been softened. Instead, I add brighter, simpler color fields, while somewhere there still shimmer the roofs of communal houses and pagodas with a more modern spirit...,” Tran Van Mang shared. As he himself says, change is also a way of searching and experimenting. It is perhaps the final wish in the artistic journey of a painter who has quietly lived within the lower reaches of the Huong River, faithfully pursuing his passion for painting.