Adam's FINE ASIAN ART 28th,29th,30th Preview June 2022

www.adams.ie Fine Asian Art | 28-29 June 2022 57 The graceful blue and white bowl accompanying them surely reminds the artist of the bleu de Hu ế ceramics. Vietnamese elite, to which belonged his father, Impe- rial Commissioner Lê Hoan, were particularly fond of those pieces ordered from China. Their cobalt blue decor would often encapsulate dis- tinct meanings to be deciphered, whether auspicious wishes or literary allusions. For instance, this bowl presenting the union of crabs and lotus flowers could symbolise the Autumn season. This preoccupation for eloquent ornamentations would not only be painted flat, but could also adopt astounding plasticity. Let’s mention the enamelled ceramic Lime-paste pot en- riched with a dragon and phenix application, or the silver centrepiece executed by Mỹ Thanh of Hanoi. This tazza truly is a model of silversmith’s dexterity. The platter reveals a meticulous temple procession low-relief upon which lays an illusionary string of cash coins. Pump and luxury are however only but a facet of Vietnamese art. The oil on canvas, Street Market Scene by Nguy ễ n Mai Th ư , depicts two fruit vendors awaiting for customers. One is seated, arranging citrus in a basket, while the other one is standing next to her, her harvest still in her hand. The painting first seems particularly attentive to details, a precise description of the scene. One can notice the modest architecture of the house in the background, identify the various trees thriving behind the women, recognise the áo t ứ thân dresses that are ubiquitous in this first half of the twentieth century. But soon the observer realises the master has placed even more talent in the way he captured the radiance of the sun. And one can even wonder if light is not the real subject of this painting. Just look at how the green banana leaves are turning gold with the sun rays passing through. Luckily the two young women have found shelter in the comfort- ing shadows stemming from the trees, but the sun still finds its way to caress their skin; bright highlights on the faces and hands. The raw cotton of their brown tunics sometime resembles bronze and the street vendors metamorphose into precious statues. Such is the genius of the artist. Happily contrasting with the earthy palette of browns, yellows and greens, a few touches of delicate blue are dispersed through the foliage as to let the observer enjoy the bright sky of a warm morning in Northern Vietnam. This careful ob- servation of life and this pursuit of light impressions was not customary for Vietnamese artists before the establishment of the École des Beaux-Arts d’Indo- chine. Soon after its opening, young artists