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Con măt nhìn cua nhà nhiêp anh = In the eye of the photographer

Kleinen, J.

Published in:Dao quanh Hô Gm = Around Hoan Kiem Lake and beyond

Link to publication

Citation for published version (APA):Kleinen, J. (2011). Con măt nhìn cua nhà nhiêp anh = In the eye of the photographer. In Quang Phùng (Ed.),Dao quanh Hô Gươm = Around Hoan Kiem Lake and beyond (pp. 7-23). Hà Nôi: Nhà Xuât Ban Văn Hóa -Thông Tin.

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Download date: 26 Dec 2019

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Ngheä syõ nhieáp aûnh : Q

uang PhuøngSinh naêm

1932, Haø N

oäiPhoùng vieân aûnh töï do töø naêm

1954D

òch giaû Con ñöôøng saám seùt( 1960 )

Caùn boä höu trí ( Boä ngoaïi giao VN

)H

oäi vieân Hoäi ngheä syõ nhieáp aûnh V

ieät Nam

Hoäi vieân H

oäi nhieáp aûnh ngheä thuaät Haø N

oäiLieân heä : (84-4)3822050420

Photographer : Quang Phung

Born in 1932, in Hanoi

Freelance photo-reporter since 1954Translator of The Path of Thunder( P.A

brahams)

Retired cadre (Ministry of Foreign A

ffrairs of Vietnam

)M

ember of the A

ssociation of Photographers of Vietnam

Mem

ber of Association of Photographers of H

anoiTelephone contact : (84-4) 38220504

D! án sách do Th" vi#n Q

u$ Prince Claus (H

à Lan) tài tr%.N

h&ng ng"'i th!c hi#n: ngh# s( nhi)p *nh Quang Phùng; G

iáos" John K

leinen, +,i h-c t.ng h%p A

msterdam

; nhà báo +ào

Mai Trang (H

à N/i)

This book project is sponsored by The Prince Claus Fund

Library (the Netherlands) and im

plemented by: photographer

Quang Phung; Professor John K

leinen, the University of

Am

sterdam and M

s. Dao M

ai Trang, journalist, Hanoi.

DA

ÏO Q

UA

NH

HO

À GÖ

ÔM

AR

OU

ND

HO

AN

KIEM

LAK

E AN

D BEY

ON

D

QU

AN

G PH

UØN

G

NH

AØ X

UA

ÁT BAÛN

VA

ÊN H

OÙA

- THO

ÂNG

TINCU

LTURE - IN

FORM

ATIO

N PU

BLISHIN

G H

OU

SEH

AØ N

OÄI - 2011

B!n quy"n !nh trong sách c#a ngh$ s% nhi&p !nh Quang Phùng

B!n quy"n bài vi&t ( ti&ng Anh và ti&ng Vi$t ) trong sách c#a ông John Kleinen.N

ghiêm c'm

m(i hình th)c sao ch*p, trích d+n, ph, bi&n và in 'n khi ch-a có v.n b!n /0ng 1 chính th)c c#a các tác gi!

Xu't b!n l2n th) nh't tháng 4 - 2011©

2011 the authorsAll rights reseved; no part of this publication m

ay be reproduced, stored in a retrieval system or transm

itted in any form or

by any means, electronic, m

echanical, photocopying, recording or otherwise, w

ithout the prior written perm

ission of theauthors.First published in April, 2011.

7

Con m

!t nhìn c"a nhà nhi#p $nh

In the eye of the photographer

e was not the one w

ho snapped the picture of American actress Jane Fonda

that aroused hatred among the haw

kish supporters of the Vietnam W

ar who called

her “Hanoi Jane” ever since. But he surely w

as part of the scene when she clim

bedonto the gunner’s seat of an anti-aircraft gun, surrounded by foreign and Vietnam

esephotographers and cam

eramen. In a split second the suggestion w

as made that the

daughter of Henry Fonda, sm

iling and wearing a helm

et of the North Vietnam

eseArm

y, was targeting Am

erican airplanes. The photographer, Nguyen Q

uang Phung,accom

panied Fonda during her two w

eek visit to Northern Vietnam

in July 1972. He

was not her official interpreter, w

hom she described as Q

uoc in her mem

oirs, but atleast he w

as assigned to show her kindergartens and schools in Vietnam

’s capital.And m

ore importantly, he took photographs of these visits.

ng không ph!i là ng-3i ch*p b)c !nh Jane Fonda, ngôi sao /i$n !nh M%,

khi&n phe di"u hâu trong cu4c chi&n 5 Vi$t Nam

c.m t)c và t6 /ó g(i bà là "Jane

Hanoi". N

h-ng ông ch7c ch7n có m8t cùng v9i nhi"u phóng viên trong và ngoài n-9c

ch)ng ki&n kho!nh kh7c Jane Fonda, /2u /4i m: s7t c#a quân /4i B7c Vi$t, trèo lên

gh& pháo th#, mi$ng t-;i c-3i rê nòng súng cao x< dõi theo m

áy bay M%. Tuy không

ph!i là ng-3i phiên d=ch chính th)c c#a Jane Fonda nh-ng ông luôn có m8t trong

hai tu2n Jane Fonda th.m m

i"n B7c Vi$t Nam

, tháng 7- 1972. Ông /ã ch*p phóng

s> !nh Jane th.m nhà tr? 5 H

à N4i.

OÂ

H

PrefaceH

oan Kiem Lake is the H

anoianpeople's pride, the w

orld of spirit,greenly historical and m

ythical. It islike

a G

od-given quiet

spaceharm

onizing marvelously the nature

and the

human

beings, helping

people to feel peacefulness and toincline to the good.

Hoan Kiem

Lake is a culturalrelic area - space needed to bepreserved.

Its w

ater has

beenpoluted for m

any years. Its sacredturtle has been exhausted. Therehave been countlessly term

ite holesw

hich have killed many old trees... 5

erythrina trees whose flow

ers were

vividly red like flames w

ere plantedby

Confucian

Nguyen

Van Sieu

more than one century ago. H

ehoped to use them

and their flowers

as the background for the Thap But(Pen Tow

er) writing on the sky,

implying prom

otion of education,raising

people’s intellectual

standards. In 2002, there were still

completely 5 of them

. Recently, they

all disappeared and have not beenreplanted yet…

On the east of the lake, there

was a splendid pagoda nam

ed BaoAn w

ith 180 compartm

ents and avast pond of lotus. In 1892, theFrench authorities broke it dow

n tobuild up their offices. Its only tracetill now

is Hoa Phong stupa beside

the lake. The pagoda bell and lotusperfum

e has inspired me, a 80-

year- old man, to take a series of

Making lotus tea w

hich is a way to

mem

orize the quiet space and lotusperfum

e around Hoan Kiem

Lake inthe past…

I m

ust say my sincere thanks

to Professor

John Kleinen,

theU

niversity of Amsterdam

and Ms.

Dao M

ai Trang, a journalist, for theirkind helps in this publication.

Hanoi, Sum

mer, 2011

Quang Phung

89

ÔQuang Phung, the photographer artist’s nam

e, was born in 1932 as N

guyenQ

uang Phung, the son of a district magistrate in the province of H

a Dong. H

is father,N

guyen Quang R

ieu, had served for a few days the French (colonial) adm

inistration,but his experiences w

ith the colonial masters encouraged him

to sympathize w

ith theinsurgent forces of H

o Chi M

inh. Quang Phung w

as twelve at the tim

e, but hiseducation and his father’s status enabled him

to offer his language skills to the Office

of the International Control C

omm

ission that dealt with the disarm

ament and

repatriation of French forces in 1954. As a young interpreter, he later joined North

Vietnam’s M

inistry of Foreign Affairs, but he never abandoned his passion forphotography.

ng là Nguy@n Q

uang Phùng, v9i bút danh Quang Phùng. Sinh n.m

1932,con trai c#a m

4t v= tri ph# thu4c tAnh Hà B

ông x-a. Ng-3i cha, N

guy@n Quang R

i$u,t6ng có m

4t th3i gian ng7n làm vi$c cho chính quy"n Pháp song le, nhCng tr!i

nghi$m /ó /ã khi&n c* có thêm

lòng c!m thông v9i các l>c l-Dng n,i dEy c#a H

0 Chí

Minh. B

i"u ki$n h(c hành và /=a v= c#a ng-3i cha /ã t<o /i"u ki$n l9n cho ng-3i con,khi /ó m

9i chA ch6ng 12 tu,i, có /-Dc các k% n.ng ngôn ngC c:ng nh- thái /4 lEpthân sau này. Q

uang Phùng s9m tr5 thành nhân viên c#a F

y ban /ình chi&n quGct&, n;i ph* trách các công vi$c liên quan /&n quá trình gi!i giáp v* khí và rút v" n-9cc#a quân /4i Pháp trong n.m

1954. Sau /ó, ông vào làm vi$c 5 B4 N

go<i giao nh-m4t thông d=ch viên tr?, song ông không bao gi3 r3i chi&c m

áy !nh c#a mình.

After the controversial visit by Jane Fonda, he photographed the firstvictim

s of the Christm

as bombings of H

anoi of nearly 40 years ago: disorderly anddesperate fam

ilies looking for survivors in the ruins of the Bach Mai hospital. The

images appeared not only in m

ajor Western new

s media, but also in Paris on the

table where Kissinger and Le D

uc Tho laboriously negotiated to end the VietnamW

ar. Phung would never again see his photographs and negatives. That

experience made him

very suspicious of anyone who later asked for copies or

negatives.H

is government job prevented him

to make a career as a photographer,

but he followed closely the developm

ent of his country after the war ended, and

in the aftermath of the unification of northern and southern Vietnam

in 1976. His

world rem

ained the beloved city of Hanoi, his parks, streets and lanes, but also

the inner world of innum

erous friends and people he met w

hile working for the

Ministry. H

e often was sent to foreign em

bassies to assist diplomats to find their

way in the capital of H

anoi. He also developed a life-long friendship w

ith thelegendary G

eneral Vo Nguyen G

iap. He w

as around with his cam

era when H

anoiw

as liberated, when the victorious Bo D

oi of Giap’s troops entered the city. A

series of photographs with G

iap and Van Cao - the m

usician and composer of the

national anthem - brought a num

ber of talented people together. Van Cao (1923

-1995) was a good friend of Vietnam

’s most fam

ous modern painter Bui Xuan

Phai (1920 -1987), writer N

guyen Tuan (1910 - 1987) and another painter TranVan C

an (1910 - 1994) who happened to be Phung’s uncle. Phung entertained

a deep friendship with them

in a period that they came out of the tw

ilight zone ofw

ar and hardships. The government even recognized m

any of these artists sincethe late 1990s w

ith many state aw

ards, often posthumously. Q

uang Phungrem

ained an outsider, but a keen observer.

Sau chuy&n th.m gây tranh cãi c#a Jane Fonda t9i H

à N4i, Q

uang Phùng/ã ch*p /-Dc nhCng t'm

hình v" các n<n nhân /2u tiên trong cu4c ném bom

Hà

N4i tháng 12 - 1972: nhi"u gia /ình li tán và ho!ng lo<n tìm

ki&m s> hH trD d-9i

/Gng /, nát c#a b$nh vi$n B<ch Mai. N

hCng hình !nh 'y không chA xu't hi$n trêncác t3 báo l9n c#a truy"n thông ph-;ng Tây m

à còn /-Dc /8t trên bàn ngh= s>H4i ngh= Paris c#a phái /oàn hai n-9c, Vi$t N

am và M

%, /àm phán /I k&t thúc

cu4c chi&n. Tuy nhiên, ông /ã không thI có l<i /-Dc nhCng t'm hình và phim

âmb!n /ó nCa. Kinh nghi$m

'y khi&n ông v" sau không d@ dàng v9i /" ngh= m-Dn

!nh ho8c phim âm

b!n c#a b't kJ ai.C

ông vi$c nhi$m s5 không t<o /i"u ki$n /I ông tr5 thành m

4t nhà nhi&p!nh nh-ng kI t6 sau khi chi&n tranh k&t thúc, hai m

i"n Nam

B7c thGng nh't, ông/ã luôn theo sát s> phát triIn c#a /'t n-9c m

ình. Th& gi9i c#a ông chính là th#/ô H

à N4i yêu d'u, nhCng công viên, ngõ phG c:ng nh- m

4t th& gi9i tinh th2nthKm

sâu bên trong c#a nhCng ng-3i b<n t6 khi ông còn làm cho b4 N

go<i giao.Ô

ng th-3ng /-Dc cL /&n các /<i s) quán n-9c ngoài 5 Hà N

4i /I giúp cácnhà ngo<i giao d@ dàng h;n trong vi$c /i l<i 5 H

à N4i. Q

uang Phùng c:ng /ã giC/-Dc m

4t mGi quan h$ lâu b"n v9i t-9ng G

iáp, m4t nhân vEt huy"n tho<i trong

l=ch sL hi$n /<i Vi$t Nam

. Ông là m

4t tay máy /ã theo chân b4 /4i c#a t-9ng

Giáp khi h( ti&n vào th# /ô m

ùa thu n.m 1954, ti&c rMng cho /&n nay, ông không

còn l-u giC /-Dc t'm hình nào v" th3i kh7c l=ch sL huy hoàng /ó. M

4t serie !nhch*p hai nhân vEt /8c bi$t: t-9ng G

iáp và nh<c sN V.n Cao - tác gi! Q

u!c ca Vi"tN

am- /ã /em

l<i mGi quan h$ /8c bi$t giCa m

4t sG nhân vEt tài n.ng v9i nhau:V.n C

ao (1923 - 1995) là b<n c#a h(a sN hi$n /<i n,i ti&ng nh't Vi$t Nam

BùiXuân Phái (1920 - 1987); nhà v.n N

guy@n Tuân (1910 - 1987) và h(a sN Tr2n V.n

H(a sN Bùi Xuân Phái, /2u

nhCng n.m 1970

Painter Bui Xuan Phai in earlythe 1970s

H(a sN Tr2n V.n C

On, /2unhCng n.m

1970

Painter Tran Van Can in early

the 1970s

© John Kleinen

© Q

uang Phùng

© Q

uang Phùng

11

He never eschew

ed problematic or am

bivalent scenes of photography. In1990, he published a superb price - w

inning portrait of the daughter of a Frenchsoldier of the Foreign Legion w

ho in the 1940s had defected to the Viet Minh and

married a Vietnam

ese wom

an. The public display of métissage

that reminded

many others of close contacts w

ith a proverbial Vietnamese “other", w

as a rareoccasion in a country w

hich after the war w

as still developing its own strong

national identity. It was an im

portant signal that Vietnam w

as also engaged incultural liberalization aside from

economic renovation. Phung’s fascination for

miscegenation probably dates back to 1960 w

hen he translated the novel ThePath of Thunder by the South African w

riter Peter Abrahams (1948) w

hich was

often compared to Alan Paton’s fam

ous Cry, M

y Beloved C

ountry, aninternational acclaim

ed literary outcry against Apartheid and racism. The book

was praised in N

han Dan at a tim

e when the cultural clim

ate in Hanoi had becom

efrostier than ever.

More than half a century has passed since Phung m

ade his first photo ofa joyful H

anoi crowd w

aiting for a triumphant arm

y and peace. It is not so much

with the topics as w

ith the gaze of the photographer that we share a point of view.

He developed a recognizable style, established in a profound need to be an

observer, and brought together in his viewfinder. It w

ould be quite correct to saythat Phung’s photos do not resem

ble Robert C

apa’s or Cartier Bresson’s, but that

the “right mom

ent” he felt is frozen in his images of the people and places he

watched and kept in his cam

era.Q

uang Phung’s greatest effort and for what he is m

ost recognized today,is his portraying of a rapidly changing city. For all his w

ork, he is first andforem

ost a keen chronicler of a Hanoi w

hich heart beats at several places with

different rhythms. Just as one m

ight say that all photography is the portrait of aperiod, a place, or an object, as w

ell as a self-portrait of the person who creates

C!n (1910 - 1994), m

"t ng#$i bác h% bên nhà v& c'a Quang Phùng. Ô

ng gi( m"t

m)i quan h* b+n h(u sâu s,c v-i h% trong giai .o+n h/u chi0n và nhi1u t0 nh2.

3a ph4n trong s) các ngh* s5 này v1 sau, gi(a nh(ng n6m

1990 tr7 .i, .1u .#&cN

hà n#-c công nh/n tài n6ng c8ng nh# s9 .óng góp ngh* thu/t c'a h% b:ngvi*c truy t;ng h% các gi Chí M

inh, gi<ith#7ng N

hà n#-c v1 v6n h%c ngh* thu/t. Trong khi .ó, Quang Phùng v?n gi( v2

trí c'a m"t ng#$i ngoài nh#ng là ng#$i quan sát s,c s<o…

Quang Phùng ch#a bao gi$ né tránh ch@p nh(ng c<nh hu)ng có thA gây

tranh lu/n ho;c chBa .9ng tính ch=t n#-c .ôi. N6m

1990, Quang Phùng .#&c

trao Huy ch#Cng vàng t+i triAn lãm

<nh ngh* thu/t toàn qu)c v-i bBc <nh chândung tiêu .1 Tóc m

ây. 3ây là m

"t bBc <nh tuy*t .Dp, ch@p cô con gái c'a m"t

ng#$i lính lê d#Cng Pháp nh(ng n6m 40, th0 kE XX, sau .ào ng8 theo Vi*t M

inh,v-i m

"t ph@ n( Vi*t Nam

. Ph<i nói r:ng, th$i gian .ó, vi*c gi-i thi*u v-i .+i chúngv1 m

"t ng#$i con lai- tFng nh,c nh- nhi1u ng#$i v1 nh(ng m)i liên h* khác

trong quá khB- là m"t d2p hi0m

hoi b7i dG v=p ph<i nh(ng quan ni*m v1 b<n di*n

dân t"c chính th)ng và m+nh m

H. S9 ki*n này c8ng là m"t d=u hi*u quan tr%ng

cho th=y Vi*t Nam

.ang thúc .!y s9 .a d+ng trong các quan ni*m v1 v6n hóa

cùng v-i .Ii m-i v1 kinh t0. M

)i quan tâm v1 hôn nhân d2 ch'ng c'a ông có lH

b,t .4u tF n6m 1960, khi ông chuyAn ng( tiAu thuy0t The Path of Thunder(C

on.#$ng s=m

sét) c'a nhà v6n ng#$i Nam

Phi Peter Abrahams (1948), tFng .#&c

so sánh v-i cu)n sách gây ti0ng vang qu)c t0 v1 s9 ph<n .)i ch' ngh5aApartheid C

ry, My B

eloved Country

(Hãy khóc .i, .=t n#-c yêu d=u c'a tôi,

Alan Paton). B<n d2ch c'a ông tFng .#&c gi-i thi*u trang tr%ng trên báo Nhân

dân ngay khi m-i xu=t b<n, th$i .iAm

mà .$i s)ng v6n hóa 7 H

à N"i nói chung

chJng có gì .áng kA.

3+i t#-ng Võ N

guyên Giáp và

nh+c s5 V6n Cao, n6m

1989

General Vo N

guyen Giap and

Com

poser Van Cao, 1989

© Q

uang Phùng

Tóc mây

- Huy ch-;ng vàng, triIn lãm

Pnhngh$ thuEt toàn quGc - 1990C

loudy Hair- G

old Medal, the N

ationalExhibition of Artistic Photographs in 1990

© Q

uang Phùng

1415

Hà N

4i là n;i ông ông /ã tr!i qua h2u h&t cu4c /3i mình, sinh sGng, làm

vi$c, lEp gia /ình. Gia /ình ông là m

4t gia /ình ngh$ sN, vD và c! hai ng-3i con/"u là nh<c công c#a dàn nh<c giao h-5ng. Và c:ng nh- nhi"u ng-3i H

à N4i

khác, ông luôn xem H0 H

oàn Ki&m nh- trái tim

thiêng c#a th# /ô. C!m

xúc r4nràng /&n v9i hàng /oàn ng-3i vui /ón T&t quanh h0, hay v9i b't kJ ai /ó khi m

His9m

mai th)c dEy s9m

/ón bình minh và h-5ng b2u không khí trong lành n;i

/ây.S> ki$n l=ch sL quan tr(ng nh't c#a n;i này /-Dc t<o ra b5i m

4t truy"nthuy&t v" vi$c vua Lê Thái T, (1385 - 1433) tr! g-;m

rùa vàng. Và tên c#a h0c:ng /-Dc g(i theo s> ki$n /ó. C

âu chuy$n liên /9i /&n nhCng nghi l@ g7n li"nv9i n-9c th-3ng th'y 5 B

ông Nam

Á th3i kJ /ó; chuy$n c:ng không có gGc tíchnh- cách m

à các v= vua tr-9c nhà Lê th-3ng t<o ra. Hà N

4i, hay khi /ó có tênTh.ng Long, /ã tr!i qua m

4t th3i kJ /4c lEp lâu dài - /-Dc xem nh- m

4t kQnguyên vàng c#a kinh /ô m

9i B<i Vi$t. Sau th& kQ XV, H

à N4i d2n thay /,i và có

th3i kJ b= m't v= trí kinh /ô c#a m

ình. Tuy nhiên, quanh H0 H

oàn Ki&m v+n là n;i

/-Dc ch(n /I xây c't nhà cho gi9i qu1 t4c, quan l<i trong khi phía tây b7c c#aH0 là n;i /I m

5 r4ng khu th-;ng m<i. Theo ngôn ngC hành chính d-9i tri"u

Nguy@n (kinh /ô 5 H

u&), Hoàn Ki&m

là m4t trong 18 c*m

dân c- bao g0m c!

nhà th3 l9n và /=a phEn xung quanh. Khu v>c th-;ng m<i, n,i danh v9i tên 36

ph! ph"#ng, /ã /em lc quanh /ó r't bOn thAu v9i nhà d>ng trên các chân c(c và/2m

l2y, ngEp /(ng, tù túng, có lR b5i cái quy&t /=nh h$ tr(ng tr-9c /ó c#a nhàN

guy@n, d3i kinh /ô vào Hu&. H

à N4i tr5 thành th# ph# c#a m

4t khu v>c, /úng

before the Le Dynasty had pretended. H

anoi, or Thang Long as it was called in

those days, was seen as the siege of an independent ruler w

ho created a goldenage for the new

ly founded kingdom of D

ai Viet. After the 15th century, Hanoi

changed gradually and lost its function as the main capital w

hen the successorsof Le Thai To split into com

peting clans of which one founded its ow

n capital inH

ue. The Hoan Kiem

lake remained a spot w

here royalty and mandarins erected

new buildings to live, but w

here on its north - west flank a com

mercial tow

nexpanded.

In the administrative language of the tim

e, Hoan Kiem

was part of a

district (phuong), and one of the eighteen population settlements of the capital

with its R

oyal Citadel and surrounding territory. Better know

n as the “Area ofThirty - Six C

omm

ercial Streets” (36 pho phuong), this comm

ercial centrecontributed to the 18th century success of H

a Noi that foreigners called Ke C

ho(G

reat Market). By the tim

e the French arrived in the 1870s, the lake and itssurrounding w

ere a filthy place, surrounded by stilt houses and swam

ps, andreduced literally to a backw

ater. Hanoi had becom

e a regional and even aprovincial capital. French city planners destroyed the im

portant Bao An pagodaat the northern part of the lake, built by a Vietnam

ese governor in the 19thcentury, but left the N

goc Son pagoda intact - the pagoda of the Jade Mountain

- on one of the two sm

all islands in the lake. By replacing the most im

portantbuildings in the area, the lake even becam

e a visible barrier, an expression ofpow

er, between the native quarters and the new

European city.

it, so it is correct to say that each picture is part of a reportage, even a story.Phung tells

every time that story, not only w

ritten in light and shadows, but also

in words. I w

as impressed by a num

ber of pictures of heroin addicts around oneof the m

ajor lakes in the city centre while telling m

e in passing that thesephotographs have been show

n at an exhibition held in 2004, when people saw

maybe for the first tim

e the direct results of what drugs can do to hum

ans. H

anoi is in many w

ays the city where he spent his com

plete adult life andw

here he founded a family, w

hose mem

bers are all artists. Like many H

anoians,he regards the H

oan Kiem Lake as the capital city’s sacred heart. The pulse

comes from

the flocking of people who celebrate the Lunar N

ew Year festivities

(Tet) or who stroll every early evening there to enjoy the soft clim

ate there in most

seasons. The historical importance of the place is coined by the fam

ous legend ofking Le Loi (or Le Thai To) [1385 -1433] w

ho accepted a magic sw

ord from a

golden turtle in the lake to fight the occupying Chinese troops sent by the M

ing.After his m

ission was accom

plished in 1428, Le Loi returned to the lake to showhis gratitude to the goddess-protector represented by the turtle. The cerem

onyw

as interrupted by a thunderstorm from

which a bold of lightning grasped the

magic sw

ord from his sheath and dashed it into the beak of the golden turtle that

disappeared into the water. The lake’s nam

e became H

o Hoan Kiem

, “the lake ofthe returned sw

ord” but in daily usage, people speak of the Ho G

uom (H

oanK

iemis a Sino -Vietnam

ese word but G

uom(it m

eans sword) is only

Vietnamese). The story refers to aquatic rituals also know

n from other parts of

Southeast Asia, this time w

ithout creating a mythical origin as dynastic rulers

H;n nLa th& kQ /ã qua kI t6 khi Phùng ch*p nhCng b)c !nh /2u tiên ghi

l<i c!nh dân chúng vui m6ng chào /ón /oàn quân gi!i phóng th# /ô (n.m

1954).C

húng tôi có nhi"u th3i gian chia s? v9i nhau v" con m7t nhìn cu4c sGng c#a m

4tnhi&p !nh gia h;n là v" các ch# /" !nh /ã ch*p c#a ông. Ô

ng /ã phát triIn m4t

phong cách d@ nhEn th'y, v9i n"n t!ng là quan /iIm: c2n thi&t ph!i tr5 thành m

4tng-3i quan sát cùng v9i Gng kính nhi&p !nh c#a m

ình. Có lR /úng khi nói rMng

!nh c#a Quang Phùng không giGng nh- c#a R

obert Capa ho8c C

artier Bressonsong /iIm

t-;ng /0ng giCa nhi&p !nh c#a ông v9i c#a h( là “kho!nh kh7c /úngth3i /iIm

” /ã /-Dc “/óng b.ng” trong nhCng hình !nh v" con ng-3i mà ông

quan sát và l-u giC trong Gng kính.NH l>c l9n nh't c#a Q

uang Phùng v9i nhi&p !nh c#a mình là ghi l

bi&n /,i nhanh chóng c#a thành phG Hà N

4i. Bó c:ng chính là /óng góp c#a

ông- v9i t- cách m4t nhà nhi&p !nh- /-Dc gi9i ngh" nghi$p và xã h4i ghi nhEn

nhi"u nh't . Tr-9c tiên, ông là m4t ng-3i ghi chép bMng !nh s7c s!o v" H

à N4i,

n;i mà nh=p /Ep cu4c sGng không ph!i /"u /8n nh- nhau 5 m

(i chGn, m(i lúc.

C:ng có thI, ai /ó sR nói rMng nhi&p !nh chính là chân dung c#a m

4t th3i kJ, m4t

n;i chGn, m4t vEt thI /0ng th3i là chân dung t> h(a c#a ng-3i ch*p, cho nên

qu! là /úng khi nói rMng, mHi b)c !nh là m

4t ph2n c#a m4t phóng s> hay câu

chuy$n /3i nào /ó… Và Q

uang Phùng luôn kI chuy$n, không chA bMng ngônngC c#a ánh sáng và bóng tGi m

à còn bMng c! ngôn t6 nCa. Ông /ã làm

tôi kinhng<c khi cho tôi xem

m4t sG !nh ch*p dân nghi"n heroin quanh m

4t trong nhCngcái h0 l9n c#a H

à N4i và ti$n thI kI tôi nghe rMng, b4 !nh /ó /ã /-Dc triIn lãm

trong n.m 2004, có lR là triIn lãm

/2u tiên v" h$ qu! mà heroin gây ra cho ng-3i

Vi$t Nam

.

17

The importance of H

oan Kiem as a sacred place rem

ains obscure andis m

ore iconic than historically justified. In the Vietnamese conception of heritage

authenticity, the lake gains its importance from

a mythical past. It w

arrants,how

ever, its important topography from

a perceived marriage of w

ater and stone.N

owadays it is seen as a landm

ark and “a successful example of using nature in

the architecture of town com

plexes” (Logan 2000: 50; Papin 2001). For the photographer Phung, H

oan Kiem lake is a biotope w

here he spenthalf of his life. H

is search for what is left resem

bles Proust’s "À la recherche dutem

ps perdu", the lost of what never has existed, but w

hat is still there as a sense,a m

emory. H

e has seen the men of his age playing C

hinese chess in theafternoon and the thrifty, devoted old w

omen com

ing at dawn of the day to do

their shadow - boxing activities, som

etimes sw

aying their toy swords to enhance

the rhythms of their classical fitness training. In the late afternoon lovers, escaping

their cramped housing, com

e here to kiss while ignoring the shouting m

atches ofm

arried couples who handle private affairs in the public dom

ain. City authorities

are still hesitating how to deal w

ith the lake and its surroundings. The changesare clearly visible in high rise buildings across the streets around the lake w

hichm

any regard as an “eyesore”. It worries Phung as m

uch as the various “jollydecorations” do in the shape of light bulbs or com

plete light and soundinstallations to give the lake a festive atm

osphere during evenings and festivals.H

e just records the contrasts and listens to the stories of those who are not longer

welcom

e to use “their” lake as an extension of their living rooms.

h;n là c#a m4t tAnh. N

hCng nhà quy ho<ch Pháp /ã cho phá chùa Báo Ân, 5 phía/ông b7c c#a h0, vGn do m

4t viên quan xây trong th& kQ XIX, nh-ng cho /I l<itoàn b4 khu v>c /"n N

g(c S;n cùng c2u Thê Húc. BMng vi$c thay th& nhCng toà

nhà quan tr(ng nh't trong khu v>c, h0 Hoàn Ki&m

/ã tr5 thành m4t cái barie

hCu hình, ng.n giCa nhCng khu c#a ng-3i b!n /=a và m4t thành phG Âu châu

m9i.

T2m quan tr(ng c#a h0 H

oàn Ki&m nh- m

4t /=a /iIm thiêng v+n còn m

;h0 và m

ang tính biIu t-Dng h;n là s> bi$n minh c#a l=ch sL. Trong 1 ni$m

v" tínhxác th>c c#a di s!n c#a ng-3i Vi$t N

am, H

0 Hoàn Ki&m

có /-Dc t2m quan tr(ng

là nh3 vào quá kh) /2y huy"n tho<i c#a nó. Nó b!o ch)ng cho /=a th& quan

tr(ng c#a mình t6 m

4t cu4c hôn phGi nhEn th'y /-Dc giCa n-9c và /á. Ngày nay,

nó /-Dc xem nh- m

4t mGc gi9i và "m

4t ví d* thành công cho vi$c sL d*ng thiênnhiên trong ph)c hDp ki&n trúc /ô th=” (Logan 2000: 50; Papin 2001)

Quang Phùng có lR /ã dành ít nh't là nLa /3i m

ình cho h0 Hoàn Ki&m

.Vi$c ki&m

tìm l v9i "/i tìm

nhCngm

ùa xuân /ã m't" c#a M

. Proust, s> m't m

át c#a nhCng th) ch-a t6ng hi$nhCu nh-ng /ã th>c s> thu4c v" k1 )c, c!m

th)c c#a ng-3i /3i. Ông t6ng bao

l2n th'y nhCng ng-

3i /àn ông cùng /4 tu,i say s-a ch;i c3 t-

9ng, nhCng

ng-3i ph* nC sGng tMn ti$n mà nhi$t thành dEy thEt s9m

/" tEp luy$n d-Sngsinh bên h0. Và khi chi"u m

u4n buông, bi&t bao /ôi tình nhân l /3i xung quanh, c) nh- thI n;i công c4ng này là chGn

riêng t- c#a h( vEy... Chính quy"n th# /ô cho /&n nay v+n còn nhi"u do d>

trong vi$c )ng xL v9i các v'n /" xã h4i x!y ra xung quanh n;i h0 thiêng này. M4t trong nhCng

thay /,i nhìn th'y rõ ràng là vi$c gi9i h<n t2ng cao c#acác tòa nhà /-Dc xây d>ng trên m

4t sG con phG nh't /=nh quanh h0 mà nhi"u

NSN

A Quang Phùng (bên ph!i ) và

gia /ình h(a sN Tr2n V.n COn, /2u

nhCng n.m 1970

Photographer Quang Phung (right)

and the family of painter Tran Van

Can in early the 1970s

© Q

uang Phùng

1819

Globalization and m

odernization also have taken Hanoi by surprise. It is

clearly visible in nearly every corner of the city that expands in every direction: tothe north across the R

ed River tow

ards the airport, but even in an overwhelm

ingand em

barrassing way to the southeast and southw

est. The days that Phungcould go back to the old provincial capital of H

a Dong to oversee quietly the place

and land his family still ow

ns, are over. High rise buildings dom

inate the skiesview

ed from the D

ay River that for m

any decades was the safety valve for the

waters of the R

ed River w

hen they threatened the capital. Villages where the

spirit-protectors guarded over the peasant-laborers of the rice paddies are nowbecom

ing city quarters like the ones within the perim

eter of Hanoi itself. In the

years to come, H

anoi’s perimeter w

ill encompass historical villages w

here armies

fought against invading Chinese troops and insurgents hided to prepare a new

regime that w

ould declare independence and revolution.Phung retreats on his favorite turf: the historical centre of H

anoi. He

observes the plight of the ambulant traders w

ho try to adapt to the changing trafficw

here motorbikes no longer prevail, but cars. The sounds of the “cris des rues”,

the special way these vendors offer vegetables, m

eat, fish, eggs, flowers and fresh

fruit in plastic bags to everybody who w

ants to buy, are muffled by the roaring

traffic. Only w

hen one sits at home in a quiet alley, one w

ould slowly understand

the high-pitched voices that offer banh tay (western bread), keo m

ut (sweet

confections), keo lac (ground-nut sweets), o m

ai (sugared or salted dry apricot) orhoa (flow

ers). Rhetoric questions are sung ranging from

simple sentences “w

how

ants to eat sugar cane” (Ai an mia khong?) or to buy flow

ers (ai hoa ra mua?) to

specific kitchenware about big jars, china w

are and even offerings to repair (Chum

chau bat su vo han khong?) nowadays also added w

ith the term “platic”.

ng-3i dân xem nh- là nhCng vEt "ch-9ng tai gai m

7t", song không ít v* trong/ó chA /-Dc chAnh /Gn sau khi ng-3i dân lên ti&ng ph!n /Gi... Th>c t& này khi&nQ

uang Phùng lo l7ng, giGng nh- s> lo l7ng c#a ông khi nhìn /# kiIu "trang trí"cho h0 bMng /a d<ng các lo ki$n. Phùng l8ng lR thu thEp các thông tin /Gi lEp /ó bMng hình !nh và l7ngnghe chuy$n kI c#a nhCng ng-3i m

à nay không còn /-Dc sL d*ng cái h0 "c#ah(" nh- m

4t phòng khách gia /ình m5 r4ng nCa.

Quá trình toàn c2u hóa và hi$n / thay /,i này hi$n hCu 5 có lR m(i góc /-3ng, n?o phG c#a

m4t th# /ô /ã /-Dc m

5 r4ng v" m(i phía; t6 trung tâm

là h0 Hoàn Ki&m

v" phíab7c, qua sông H

0ng, v" phía sân bay quGc t& N4i Bài, nh-ng l9n nh't và có lR

ph!i bàn nh't là s> thay /,i v" phía Bông N

am và Tây N

am. B

ã vNnh vi@n m't

nhCng d=p mà nhà nhi&p !nh lão thành này có thI tr5 lc x-a kia thu4c v" gia /ình m

ình. NhCng tòa

nhà cao t2ng /ang m(c lên án ngC b2u tr3i phía sông B

áy, n;i bao n.m qua t6ng

là van an toàn cho sông H0ng m

Hi khi l: l*t dâng cao /e d(a n4i /ô. Nhi"u ngôi

làng n;i t6ng có th2n h4 m$nh b!o trD cho ng-3i nông dân s!n xu't lúa g<o nay

/ã và /ang tr5 thành khu phG nh- bao khu phG khác 5 bên trong vành /ai Hà

N4i. T9i /ây, khu v>c vành /ai H

à N4i sR bao g0m

nhCng ngôi làng l=ch sL, n;it6ng dTp tan quân xâm

l-Dc ph-;ng B7c, c:ng là n;i l>c l-Dng kháng chi&n Onn'p, /-Dc nhân dân che ch5 /I chuOn b= cho m

4t chính thI m9i /I tuyên bG n"n

/4c lEp và ti&n hành làm cách m

<ng.Q

uang Phùng lui v" l8ng lR sGng 5 m4t xóm

phG ngay trung tâm H

à N4i;

xóm H< H

0i. Ông quan sát nHi nh(c nhMn c#a nhCng ng-3i bán hàng rong trên

In 2003 when the Southeast Asia G

ames (Seagam

es) took place inVietnam

, the Hanoi city authorities decided to crack dow

n on street comm

erceand to ban cyclo drivers and am

bulant vendors at least from the inner centre to

offer visitors a vision of cleansed modernity that they had in m

ind which is

comparable w

ith Singapore and Kuala Lumpur. Later in 2008, a com

plete banon am

bulant vending followed, this tim

e an estimated num

ber of 5,000 mobile

vendors risked to lose their jobs or at least interrupted the continuous stream of

goods and repair services from the surrounding countryside that gave H

anoi aflavor of “nostalgic im

age”. What w

as forgotten by those who protested is that

less than 20 years ago this type of trade was sem

i-illegal since it was banned in

1957 - 1958 when the C

ollectivization period (Bao Cap) started.

The vendors are not banned from the city as a w

hole, but those who cater

local markets peddling betw

een the fresh and the wet w

holesale markets near the

Long Bien Bridge and the rest of Hanoi now

adays have to watch for the alw

aysvigilant law

enforcers. Phung reported this cat-and-mouse play w

ith great care forthe victim

s whose stories he knew

by heart. He brings them

together in anunusual perspective show

ing the uneasy relationship between car and (w

o)men.

His sharp eye for opposing w

orlds in one frame exposes som

etimes-m

ilddifferences betw

een the poor and the rich, but often takes side for those who are

weak or pow

erless.The hectic m

oments of this bustling city is in sharp contrast w

ith theserenity and peacefulness of a hidden back-yard pagoda, not so far fromPhung’s hom

estead. Visitors have to wind through a long alley to reach a bright

brick-paved courtyard where suddenly an im

pressive pagoda catches the eyesof the visitor. The nam

e is Phung Thanh pagoda off K

ham Thien S

treet.

phG khi ph!i làm quen v9i vi$c chen chúc cùng /# lo<i xe c; gi9i, nh't là xe ô

tô, n;i /ô th=. NhCng ti&ng rao /-3ng phG, cách chào hàng /8c bi$t c#a ng-3i

bán hàng rong, t6 hoa t-;i, rau qu! /&n th=t, cá, tr)ng, nh- tan loãng /i giCati&ng 0n N c#a giao thông. C

hA khi ai /ó 5 nhà trong m4t ngõ v7ng v? m

9i có thInhEn hiIu /-Dc nhCng thanh âm

rao hàng cao vGng, t6 bánh tây (t)c bánh mJ),

/&n kTo v6ng, kTo l<c, ô mai hay c! hoa t-;i theo m

ùa nCa. NhCng câu hUi tu

t6 /-Dc rao lên v9i /# cung bEc thanh âm, c!m

xúc, gi(ng /i$u /=a ph-;ng, và/# thI lo<i, t6 /;n gi!n nh- "Ai .n m

ía không?", cho /&n c! m4t câu k&t hDp /#

th) :"Ai chum chEu bát s) vS hàn không?", nay còn còn thêm

c! t6 "plat-tic"(plastic - nh>a) nCa...

N.m

2003, khi SeaGam

es /-Dc t, ch)c l2n /2u tiên 5 Vi$t Nam

, chínhquy"n thành phG quy&t /=nh c'm

bán hàng rong và xe xích lô ít nh't trong khutrung tâm

thành phG, theo ch# tr-;ng xây d>ng th# /ô xanh s<ch /Tp, v.n minh

hi$n /<i, /em l<i cho du khách m

4t hình !nh Hà N

4i hi$n /<i s<ch sR nh- h(t6ng th'y 5 Singapore hay Kuala Lum

pur. CuGi n.m

2008, m4t l$nh c'm

bánhàng rong trong toàn thành phG /-Dc ban hành, theo /ó, -9c tính có ít nh't5.000 ng-3i ki&m

sGng bMng công vi$c này b= m't vi$c và /e d(a gián /o<n m

4tngu0n cung c'p hàng hóa th>c phOm

t-;i sGng t6 các vùng quanh thành phGt6ng /ã giúp /em

l<i cho Hà N

4i h-;ng v= c#a "m4t hình !nh hoài c,". C

ó /i"ukhông ít ng-3i /ã quên rMng, vi$c kinh doanh kiIu /ó t6ng b= c'm

t6 nhCng n.mb7t /2u th3i kJ tEp thI hóa 5 m

i"n b7c xã h4i ch# nghNa, n.m 1957 - 1958.

Không hoàn toàn c'm hKn /-Dc h( song ng-3i bán hàng rong hi$n gi3

ph!i h&t s)c canh ch6ng s> theo dõi c#a nhCng ng-3i th>c thi luEt pháp m4t

21

The quiet pondof the pagoda does not betray the violent past w

henAm

erican bombs hit the area on the evening of 26 D

ecember 1972 and killed

215 people, destroying shops and houses and left yawning craters m

ost of which

have disappeared now. The contrast between the pagoda and the bustling and

one of the noisiest and most congested streets of H

anoi is even greater when one

remem

bers the history of Kham Thien. Sw

eet music of C

a Tru music once

welcom

ed well - to - do custom

ers of the Co D

au Ruou’s, the green ballooned

drinking houses, to meet Vietnam

ese courtesans (a dao). Dancings listened to

names like Etoile,D

èesse, Fèerieand

Pagode. After the August revolution KhamThien street w

as quickly cleaned and sanitized, but it remained a colourful

neigbourhood.All of this is absent in the series of photographs Q

uang Phung took atthe pagoda. H

is portraits of the famous nun Thich D

am Anh and her m

onasticcom

munity expose an inspiring w

orld of tranquility where the preparation of lotus

tea and the composition of m

edicines seem to have been reconciled w

ith theflow

s of the hectic events of Vietnamese history. H

is pictures show a peculiar

tranquility that is grasped by a patient observer who does not bother about style

and vogue, but who likes to record w

hat his eye sees. The inhabitants of PhungThanh pagoda, how

ever, demonstrate at the sam

e time that “going against the

stream” is still a hallm

ark of Vietnamese Buddhism

. 1Phung captured that w

orldin a w

ay that only insiders of his age and experience can acquire.

John Kleinen

cách m+n cán. Q

uang Phùng theo bám v'n /" xã h4i này v9i m

4t s> quan tâml9n nh't có thI dành cho nhCng ng-3i vì m

i&ng c;m m

anh áo cho c! gia /ìnhm

à ph!i l8n l4i ki&m sGng n;i /ô th=. Ô

ng thu4c nMm lòng chuy$n /3i c#a nhi"u

ng-3i trong sG h(. Ông ch*p /-Dc nhCng kho!nh kh7c cho th'y rõ nét s> khó

nh(c m-u sinh c#a h( c:ng nh- c#a chính ông- m

4t ng-3i /-a tin trung th>c.C

on m7t nhìn /3i s7c s!o c#a ông /ôi khi /em

lkhác nhau giCa ng-3i giàu và k? nghèo /0ng th3i không gi'u /-Dc thái /4 c#aông /)ng v" phía nhCng nhân vEt y&u 9t, không có quy"n hành.

BGi lEp g2n nh- hoàn toàn v9i nhCng kho!nh kh7c sGng hGi h!, 0n ào

bên ngoài là m4t không gian tNnh l8ng, th- thái bên trong m

4t ngôi chùa On giCam4t khu dân c-, không xa là bao so v9i xóm

H< H

0i. Chùa có tên Ph*ng Thánh,

nMm sâu trong ngõ C

Gng Tr7ng, trên phG Khâm Thiên. S> /Gi lEp giCa n;i chGn

này v9i cu4c sGng phG h4i bên ngoài có lR còn /-Dc c!m nhEn m

<nh mR h;n

n&u ai /ó nh9 /&n l=ch sL c#a con phG Khâm Thiên: con phG ph!i h)ng ch=u trEn

ném bom

B52 th!m khGc tháng 12 - 1972 và tr-9c C

ách m<ng tháng Tám

, nót6ng là phG C

ô /2u, dEp dìu trai thanh gái l=ch, giai nhân và khách làng ch;i. Saungày /'t n-9c /-Dc /4c lEp, phG này /ã /-Dc d(n dTp phong quang và s9m

tr5thành m

4t khu dân c- s2m u't... T't c! nhCng thông tin l=ch sL /ó không hi$n

hCu trong serie !nh Làm chè sen c#a Q

uang Phùng, ch*p t tNnh l8ng,

n;i vi$c chuOn b= làm chè sen và các v= thuGc cho tr? em

t6 sen d-3ng nh- /-Dc/i"u hòa l<i v9i dòng ch!y l=ch sL /2y xao /4ng c#a /'t n-9c. N

hCng b)c !nh

B<i t-9ng Võ N

guyên Giáp tr! l3i

phUng v'n truy"n hình Pháp, Bi$n

Biên Ph# - 1984G

eneral Vo Nguyen G

iap in aninterview

of a French Television,D

ien Bien Phu - 1984

© Q

uang Phùng

c!a Quang Phùng cho th"y m

#t s$ t%nh l&ng khác bi't ()*c th"m hi+u b,i m

#tng)-i quan sát kiên nh.n, ng)-i không h/ b0n kho0n v/ cái g1i là phong cáchhay s$ tán th),ng b/ ngoài m

à ch2 chú tr1ng (3n nh4ng gì mà (ôi m

5t ông t6nth"y. N

h4ng ng)-i s7ng , chùa Ph8ng Thánh (ã minh ch9ng r:ng "(i ng)*c

dòng" v.n là m#t (&c (i+m

(+ nh6n bi3t c!a Ph6t giáo Vi't Nam

. 1Quang Phùng

(ã n5m b5t ()*c hình ;nh m

#t th3 gi m#t thành ph7),

Seatle, WA: U

niversity of Washington Press, 2000.

Philippe Papin,Histoire de H

anoi(L?ch s> Hà N

#i), Paris: Fayard, 2001.

1Tôi m)*n @ diAn gi;i này tB lu6n án thCc s% c!a Katie D

yt, nguyên v0n "Against the Stream: Buddhism

,M

arxism and G

ender in the Narrative of a Vietnam

ese Nun" (D

i ng)*c dòng: Ph6t giáo, ch! ngh%a Mac

và gi<i trong trEn thu6t c!a m#t v? s) Vi't N

am), M

onash University, Australia, 2009.

References:

William

Logan, Hanoi, biography of a city. Seattle, W

A: University of

Washington Press, 2000.

Philippe Papin,Histoire de H

anoï. Paris: Fayard, 2001.

1 I borrow this expression from

Katie Dyt’s inspiring biography of D

am Anh, “Against the Stream

:Buddhism

, Marxism

and Gender in the N

arrative of a Vietnamese N

un”, MA thesis, M

onashU

niversity, 2009.

Nhà v!n N

guy"n Tuân, #$u nh%ng n!m

1970.W

riter Nguyen Tuan, in early the 1970s.

2223

© Q

uang Phùng

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