{"id":9448,"date":"2025-03-06T07:14:05","date_gmt":"2025-03-06T07:14:05","guid":{"rendered":"https:\/\/thucdoan.com\/?p=9448"},"modified":"2025-03-06T10:57:28","modified_gmt":"2025-03-06T10:57:28","slug":"9448","status":"publish","type":"post","link":"https:\/\/thucdoan.com\/?p=9448","title":{"rendered":""},"content":{"rendered":"\n\n\t\t\t\t\"\"\n\tI am deeply honoured to have been entrusted by Yves Cosqu\u00e9ric, a distinguished French auctioneer and judicial officer renowned for his expertise in art and antiques and the owner of Adjug’Art. It is a privilege to contribute to the auction of the remarkable works of Tr\u1ea7n Quang Tr\u00e2n (Ngym)<\/a>.\nAs an archivist and researcher in Vietnamese Art, I see this as both an honour and a profound responsibility-to illuminate the legacy of a master whose delicate yet powerful drawings encapsulate the soul of Vietnam. Ngym’s artistry is not merely a reflection of his technical skill but a testament to the cultural and historical richness of Vietnam, offering invaluable glimpses into its past and spirit.\nNgym’s works, particularly his pencil sketches, are windows into a past that is both intimate and historically significant. His portraits and landscapes transcend mere representation, offering a deeply human perspective on Hanoi’s evolving identity. Through the meticulous strokes of his pencil, Ngym chronicled the faces, places, and spirit of a nation undergoing immense transformation.\nTo collaborate on this publication and bring greater awareness to Vietnamese art on an international platform is an immense joy. This series-rich in cultural and artistic value-presents a rare and wonderful opportunity for collectors, historians, and art lovers to acquire and cherish the works of Tr\u1ea7n Quang Tr\u00e2n (Ngym). His sketches are not just artistic masterpieces but historical treasures that offer an intimate glimpse into Vietnam’s cultural and artistic heritage.\nMy gratitude extends to Adjug’Art and Yves Cosqu\u00e9ric for their trust, and I look forward to sharing this exceptional collection with the world.\n\n\tJe suis profond\u00e9ment honor\u00e9e d’avoir \u00e9t\u00e9 mandat\u00e9e par Yves Cosqu\u00e9ric, un commissaire-priseur et officier minist\u00e9riel fran\u00e7ais de renom, reconnu pour son expertise en art et antiquit\u00e9s, et propri\u00e9taire d’Adjug’Art. C’est un privil\u00e8ge de contribuer \u00e0 la mise aux ench\u00e8res des \u0153uvres remarquables de Tr\u1ea7n Quang Tr\u00e2n (Ngym).\nEn tant qu’archiviste et chercheur sp\u00e9cialis\u00e9 dans l’Art vietnamien, je consid\u00e8re cela \u00e0 la fois comme un honneur et une responsabilit\u00e9 majeure-mettre en lumi\u00e8re l’h\u00e9ritage d’un ma\u00eetre dont les dessins, \u00e0 la fois d\u00e9licats et puissants, incarnent l’\u00e2me du Vietnam. L’art de Ngym ne se r\u00e9sume pas uniquement \u00e0 sa ma\u00eetrise technique, mais t\u00e9moigne \u00e9galement de la richesse culturelle et historique du Vietnam, offrant un aper\u00e7u inestimable de son pass\u00e9 et de son esprit.\nLes \u0153uvres de Ngym, en particulier ses esquisses au crayon, sont des fen\u00eatres ouvertes sur un pass\u00e9 \u00e0 la fois intime et d’une grande port\u00e9e historique. Ses portraits et paysages d\u00e9passent la simple repr\u00e9sentation pour offrir une vision profond\u00e9ment humaine de l’identit\u00e9 en constante \u00e9volution de Hano\u00ef. \u00c0 travers les traits minutieux de son crayon, Ngym a immortalis\u00e9 les visages, les lieux et l’esprit d’une nation en pleine transformation.\nCollaborer \u00e0 cette publication et contribuer \u00e0 une meilleure reconnaissance de l’art vietnamien sur la sc\u00e8ne internationale est une immense joie. Cette s\u00e9rie-riche en valeur culturelle et artistique-repr\u00e9sente une opportunit\u00e9 rare et pr\u00e9cieuse pour les collectionneurs, historiens et amateurs d’art d’acqu\u00e9rir et de pr\u00e9server les \u0153uvres de Tr\u1ea7n Quang Tr\u00e2n (Ngym). Ses esquisses ne sont pas seulement des chefs-d’\u0153uvre artistiques, mais aussi des tr\u00e9sors historiques offrant un regard intime sur le patrimoine culturel et artistique du Vietnam.\nJ’exprime ma plus profonde gratitude \u00e0 Adjug’Art et \u00e0 Yves Cosqu\u00e9ric pour leur confiance, et j’ai h\u00e2te de partager cette collection exceptionnelle avec le monde entier.\n\tT\u00f4i v\u00f4 c\u00f9ng vinh d\u1ef1 khi \u0111\u01b0\u1ee3c Yves Cosqu\u00e9ric, m\u1ed9t nh\u00e0 \u0111\u1ea5u gi\u00e1 v\u00e0 vi\u00ean ch\u1ee9c t\u01b0 ph\u00e1p danh ti\u1ebfng c\u1ee7a Ph\u00e1p, ng\u01b0\u1eddi n\u1ed5i ti\u1ebfng v\u1edbi chuy\u00ean m\u00f4n v\u1ec1 ngh\u1ec7 thu\u1eadt v\u00e0 \u0111\u1ed3 c\u1ed5, \u0111\u1ed3ng th\u1eddi l\u00e0 ch\u1ee7 s\u1edf h\u1eefu c\u1ee7a Adjug’Art, tin t\u01b0\u1edfng giao ph\u00f3 nhi\u1ec7m v\u1ee5 n\u00e0y. \u0110\u01b0\u1ee3c \u0111\u00f3ng g\u00f3p v\u00e0o phi\u00ean \u0111\u1ea5u gi\u00e1 c\u00e1c t\u00e1c ph\u1ea9m xu\u1ea5t s\u1eafc c\u1ee7a Tr\u1ea7n Quang Tr\u00e2n (Ngym)<\/a> l\u00e0 m\u1ed9t \u0111\u1eb7c \u00e2n l\u1edbn lao.\nV\u1edbi vai tr\u00f2 l\u00e0 m\u1ed9t nh\u00e0 l\u01b0u tr\u1eef v\u00e0 nghi\u00ean c\u1ee9u v\u1ec1 ngh\u1ec7 thu\u1eadt Vi\u1ec7t Nam, t\u00f4i coi \u0111\u00e2y v\u1eeba l\u00e0 ni\u1ec1m vinh d\u1ef1 v\u1eeba l\u00e0 m\u1ed9t tr\u00e1ch nhi\u1ec7m quan tr\u1ecdng-t\u00f4n vinh di s\u1ea3n c\u1ee7a m\u1ed9t b\u1eadc th\u1ea7y, ng\u01b0\u1eddi m\u00e0 nh\u1eefng n\u00e9t v\u1ebd tinh t\u1ebf nh\u01b0ng \u0111\u1ea7y s\u1ee9c m\u1ea1nh \u0111\u00e3 truy\u1ec1n t\u1ea3i tr\u1ecdn v\u1eb9n t\u00e2m h\u1ed3n Vi\u1ec7t Nam. Ngh\u1ec7 thu\u1eadt c\u1ee7a Ngym kh\u00f4ng ch\u1ec9 l\u00e0 s\u1ef1 ph\u1ea3n \u00e1nh t\u00e0i n\u0103ng k\u1ef9 thu\u1eadt m\u00e0 c\u00f2n l\u00e0 m\u1ed9t minh ch\u1ee9ng cho s\u1ef1 phong ph\u00fa v\u1ec1 v\u0103n h\u00f3a v\u00e0 l\u1ecbch s\u1eed c\u1ee7a Vi\u1ec7t Nam, mang \u0111\u1ebfn nh\u1eefng g\u00f3c nh\u00ecn v\u00f4 gi\u00e1 v\u1ec1 qu\u00e1 kh\u1ee9 v\u00e0 tinh th\u1ea7n d\u00e2n t\u1ed9c.\nC\u00e1c t\u00e1c ph\u1ea9m c\u1ee7a Ngym, \u0111\u1eb7c bi\u1ec7t l\u00e0 nh\u1eefng b\u1ee9c ph\u00e1c h\u1ecda b\u00fat ch\u00ec, l\u00e0 nh\u1eefng c\u00e1nh c\u1eeda m\u1edf ra qu\u00e1 kh\u1ee9-v\u1eeba g\u1ea7n g\u0169i, v\u1eeba c\u00f3 \u00fd ngh\u0129a l\u1ecbch s\u1eed s\u00e2u s\u1eafc. Ch\u00e2n dung v\u00e0 phong c\u1ea3nh c\u1ee7a \u00f4ng kh\u00f4ng ch\u1ec9 d\u1eebng l\u1ea1i \u1edf t\u00ednh m\u00f4 t\u1ea3 m\u00e0 c\u00f2n truy\u1ec1n t\u1ea3i m\u1ed9t g\u00f3c nh\u00ecn \u0111\u1ea7y t\u00ednh nh\u00e2n v\u0103n v\u1ec1 s\u1ef1 chuy\u1ec3n m\u00ecnh c\u1ee7a H\u00e0 N\u1ed9i. Qua nh\u1eefng n\u00e9t b\u00fat t\u1ec9 m\u1ec9, Ngym \u0111\u00e3 ghi l\u1ea1i khu\u00f4n m\u1eb7t, khung c\u1ea3nh v\u00e0 tinh th\u1ea7n c\u1ee7a m\u1ed9t \u0111\u1ea5t n\u01b0\u1edbc \u0111ang tr\u1ea3i qua nh\u1eefng bi\u1ebfn \u0111\u1ed9ng l\u1edbn lao.\n\u0110\u01b0\u1ee3c h\u1ee3p t\u00e1c trong \u1ea5n ph\u1ea9m n\u00e0y v\u00e0 g\u00f3p ph\u1ea7n n\u00e2ng cao nh\u1eadn th\u1ee9c v\u1ec1 ngh\u1ec7 thu\u1eadt Vi\u1ec7t Nam tr\u00ean tr\u01b0\u1eddng qu\u1ed1c t\u1ebf l\u00e0 m\u1ed9t ni\u1ec1m vui to l\u1edbn. B\u1ed9 s\u01b0u t\u1eadp n\u00e0y-gi\u00e0u gi\u00e1 tr\u1ecb v\u0103n h\u00f3a v\u00e0 ngh\u1ec7 thu\u1eadt-mang \u0111\u1ebfn m\u1ed9t c\u01a1 h\u1ed9i hi\u1ebfm c\u00f3 v\u00e0 tuy\u1ec7t v\u1eddi cho c\u00e1c nh\u00e0 s\u01b0u t\u1ea7m, nh\u00e0 s\u1eed h\u1ecdc v\u00e0 nh\u1eefng ng\u01b0\u1eddi y\u00eau ngh\u1ec7 thu\u1eadt \u0111\u01b0\u1ee3c s\u1edf h\u1eefu v\u00e0 tr\u00e2n qu\u00fd c\u00e1c t\u00e1c ph\u1ea9m c\u1ee7a Tr\u1ea7n Quang Tr\u00e2n (Ngym). Nh\u1eefng b\u1ea3n ph\u00e1c th\u1ea3o c\u1ee7a \u00f4ng kh\u00f4ng ch\u1ec9 l\u00e0 ki\u1ec7t t\u00e1c ngh\u1ec7 thu\u1eadt m\u00e0 c\u00f2n l\u00e0 b\u00e1u v\u1eadt l\u1ecbch s\u1eed, gi\u00fap ta nh\u00ecn s\u00e2u h\u01a1n v\u00e0o di s\u1ea3n v\u0103n h\u00f3a v\u00e0 ngh\u1ec7 thu\u1eadt c\u1ee7a Vi\u1ec7t Nam.\nT\u00f4i xin g\u1eedi l\u1eddi c\u1ea3m \u01a1n ch\u00e2n th\u00e0nh \u0111\u1ebfn Adjug’Art v\u00e0 Yves Cosqu\u00e9ric v\u00ec s\u1ef1 tin t\u01b0\u1edfng n\u00e0y, v\u00e0 t\u00f4i mong ch\u1edd \u0111\u01b0\u1ee3c chia s\u1ebb b\u1ed9 s\u01b0u t\u1eadp \u0111\u1eb7c bi\u1ec7t n\u00e0y v\u1edbi th\u1ebf gi\u1edbi.\n\t

Tran Quang Tran (Vietnam, 1900-1969)<\/strong><\/p>\n\t

Tr\u1ea7n Quang Tr\u00e2n (1900-1969)<\/strong>, also known as Ngym<\/strong> or Nghi Am<\/strong>, remains an underappreciated master of Vietnamese art. Graduating from the Hanoi College of Fine Arts in 1932 at 32, his mature perspective was shaped by earlier careers in business, oil exploitation, and lamp manufacturing, which deepened his attention to materials, especially lacquer-a medium he explored with great sensitivity.<\/p>\n\t

Tr\u1ea7n Quang Tr\u00e2n (1900-1969)<\/strong>, \u00e9galement connu sous les noms de Ngym<\/strong> ou Nghi Am<\/strong>, demeure un ma\u00eetre m\u00e9connu de l’art vietnamien. Dipl\u00f4m\u00e9 de l’\u00c9cole des Beaux-Arts de Hano\u00ef en 1932, \u00e0 l’\u00e2ge de 32 ans, il apporta \u00e0 son \u0153uvre une perspective m\u00fbrie par ses carri\u00e8res ant\u00e9rieures dans le commerce, l’exploitation p\u00e9troli\u00e8re et la fabrication de lampes – exp\u00e9riences qui affin\u00e8rent son attention port\u00e9e aux mat\u00e9riaux, en particulier la laque, un m\u00e9dium qu’il explora avec une grande sensibilit\u00e9.<\/p>\n\t

Tr\u1ea7n Quang Tr\u00e2n (1900-1969)<\/strong>, \u00e9galement connu sous les noms de Ngym<\/strong> ou Nghi Am<\/strong>, demeure un ma\u00eetre m\u00e9connu de l’art vietnamien. Dipl\u00f4m\u00e9 de l’\u00c9cole des Beaux-Arts de Hano\u00ef en 1932, \u00e0 l’\u00e2ge de 32 ans, il apporta \u00e0 son \u0153uvre une perspective m\u00fbrie par ses carri\u00e8res ant\u00e9rieures dans le commerce, l’exploitation p\u00e9troli\u00e8re et la fabrication de lampes – exp\u00e9riences qui affin\u00e8rent son attention port\u00e9e aux mat\u00e9riaux, en particulier la laque, un m\u00e9dium qu’il explora avec une grande sensibilit\u00e9.<\/p>\n\t\t\t\t\n\t\t\t\t\"Tran\n\t\t\t\t<\/a>\n\t\tTran Quang Tran (1900-1969), Portrait of the Painter Nguyen Trong Kiem, pencil drawing on paper, signed lower right, dated “16\/11\/1961”, in a frame (very rare foxing and a few traces of scotch tape), 19.5 x 13.5 cm. Estimate: \u20ac3,000 – \u20ac4,000\n\t\t\t\t\n\t\t\t\t\"Tran\n\t\t\t\t<\/a>\n\t\tTran Quang Tran (1900-1969), Portrait of Chan Giang (Vu Boi Hoang), pencil drawing on paper, signed and dated 1957 lower right, name annotated upper right, in a frame under glass (old traces of adhesive on the edges and a small loss at the bottom of the sheet with a tear), 19.3 x 12 cm. Estimate: \u20ac3,000 – \u20ac4,000\n\t

Though he contributed to the 1931 Paris Colonial Exhibition, Tr\u1ea7n Quang Tr\u00e2n’s true brilliance emerged in his pencil drawings. He created over 135 sketches, including 70 portraits of notable Northern Vietnamese figures and 65 evocative views of Hanoi, capturing the city’s essence with a delicate hand and keen eye.<\/p>\n\t

Bien qu’il ait contribu\u00e9 \u00e0 l’Exposition coloniale de Paris en 1931, c’est dans ses dessins au crayon que le v\u00e9ritable \u00e9clat de Tr\u1ea7n Quang Tr\u00e2n se r\u00e9v\u00e9la. Il r\u00e9alisa plus de 135 esquisses, dont 70 portraits de figures \u00e9minentes du Nord-Vietnam et 65 vues \u00e9vocatrices de Hano\u00ef, capturant l’essence de la ville avec une main d\u00e9licate et un regard p\u00e9n\u00e9trant.<\/p>\n\t

D\u00f9 t\u1eebng tham gia Tri\u1ec3n l\u00e3m Thu\u1ed9c \u0111\u1ecba Paris n\u0103m 1931, t\u00e0i n\u0103ng th\u1ef1c s\u1ef1 c\u1ee7a Tr\u1ea7n Quang Tr\u00e2n l\u1ea1i t\u1ecfa s\u00e1ng qua c\u00e1c b\u1ea3n v\u1ebd b\u00fat ch\u00ec. \u00d4ng \u0111\u00e3 th\u1ef1c hi\u1ec7n h\u01a1n 135 b\u1ee9c k\u00fd h\u1ecda, bao g\u1ed3m 70 ch\u00e2n dung c\u00e1c nh\u00e2n v\u1eadt n\u1ed5i b\u1eadt mi\u1ec1n B\u1eafc v\u00e0 65 phong c\u1ea3nh H\u00e0 N\u1ed9i \u0111\u1ea7y x\u00fac c\u1ea3m, ghi l\u1ea1i tinh th\u1ea7n c\u1ee7a th\u00e0nh ph\u1ed1 b\u1eb1ng n\u00e9t v\u1ebd t\u00e0i t\u00ecnh v\u00e0 con m\u1eaft s\u1eafc s\u1ea3o.<\/p>\n\t\t\t\t\n\t\t\t\t\"Tran\n\t\t\t\t<\/a>\n\t\tTran Quang Tran (1900-1969), Lively Street in Hanoi, Bo Ho Noan Kum, drawing on paper, signed and dated “16\/11\/1961”, in a frame (very rare foxing), 13 x 20 cm. Estimate: \u20ac3,000 – \u20ac4,000\n\t

As both chronicler and topographer, Tr\u1ea7n documented Hanoi’s evolving identity amid decades of cultural and political upheaval. His portraits and landscapes reveal an artist deeply attuned to the soul of his subjects, blending precision with emotion.<\/p>\n\t

\u00c0 la fois chroniqueur et topographe, Tr\u1ea7n documenta l’identit\u00e9 changeante de Hano\u00ef \u00e0 travers des d\u00e9cennies de bouleversements culturels et politiques. Ses portraits et paysages d\u00e9voilent un artiste profond\u00e9ment en r\u00e9sonance avec l’\u00e2me de ses sujets, m\u00ealant pr\u00e9cision et \u00e9motion.<\/p>\n\t

V\u1eeba l\u00e0 ng\u01b0\u1eddi ghi ch\u00e9p l\u1ecbch s\u1eed v\u1eeba l\u00e0 “\u0111\u1ecba \u0111\u1ed3 h\u1ecda” c\u1ee7a th\u1eddi \u0111\u1ea1i, Tr\u1ea7n Quang Tr\u00e2n \u0111\u00e3 l\u01b0u gi\u1eef h\u00ecnh \u1ea3nh H\u00e0 N\u1ed9i qua nh\u1eefng th\u1eadp ni\u00ean bi\u1ebfn \u0111\u1ed9ng v\u0103n h\u00f3a v\u00e0 ch\u00ednh tr\u1ecb. Nh\u1eefng b\u1ee9c ch\u00e2n dung v\u00e0 phong c\u1ea3nh c\u1ee7a \u00f4ng cho th\u1ea5y m\u1ed9t ho\u1ea1 s\u0129 th\u1ea5u hi\u1ec3u s\u00e2u s\u1eafc t\u00e2m h\u1ed3n c\u1ee7a nh\u00e2n v\u1eadt, k\u1ebft h\u1ee3p gi\u1eefa s\u1ef1 ch\u00ednh x\u00e1c v\u00e0 rung \u0111\u1ed9ng c\u1ea3m x\u00fac.<\/p>\n\t\t\t\t\n\t\t\t\t\"Tran\n\t\t\t\t<\/a>\n\t\tTran Quang Tran (1900-1969), Porte du Temple de la Litt\u00e9rature \u00e0 Hano\u00ef (Gate of the Temple of Literature in Hanoi), pencil drawing, dated “26\/10\/1962”, in a frame (some traces of scotch tape), 20.3 x 13.3 cm. Estimate: \u20ac3,000 – \u20ac4,000\n\t\t\t\t\n\t\t\t\t\"Tran\n\t\t\t\t<\/a>\n\t\tTran Quang Tran (1900-1969), Arbre en fleur Goc Nga Ba Gia Gha Hat (Flowering Tree at Goc Nga Ba Gia Gha Hat), pencil drawing, dated “08\/05\/1961” and marked “19” (traces of scotch tape), 20.4 x 13.5 cm. Estimate: \u20ac3,000 – \u20ac4,000\n\t

His life ended during the American War, clouded by rumors of political dissent, yet his legacy endures. Through his drawings, Hanoi’s history and humanity continue to speak, preserved by one of its most devoted Vietnamese artists.<\/p>\n\t

Sa vie s’acheva durant la guerre du Vietnam, assombrie par des rumeurs de dissidence politique, mais son h\u00e9ritage perdure. \u00c0 travers ses dessins, l’histoire et l’\u00e2me de Hano\u00ef continuent de s’exprimer, pr\u00e9serv\u00e9es par l’un de ses artistes vietnamiens les plus d\u00e9vou\u00e9s.<\/p>\n\t

\u00d4ng qua \u0111\u1eddi trong th\u1eddi k\u1ef3 Chi\u1ebfn tranh Vi\u1ec7t Nam, gi\u1eefa nh\u1eefng tin \u0111\u1ed3n v\u1ec1 b\u1ea5t \u0111\u1ed3ng ch\u00ednh ki\u1ebfn, nh\u01b0ng di s\u1ea3n ngh\u1ec7 thu\u1eadt c\u1ee7a \u00f4ng v\u1eabn tr\u01b0\u1eddng t\u1ed3n. Qua t\u1eebng n\u00e9t v\u1ebd, l\u1ecbch s\u1eed v\u00e0 con ng\u01b0\u1eddi H\u00e0 N\u1ed9i v\u1eabn ti\u1ebfp t\u1ee5c c\u1ea5t l\u1eddi, \u0111\u01b0\u1ee3c l\u01b0u gi\u1eef b\u1edfi m\u1ed9t trong nh\u1eefng ngh\u1ec7 s\u0129 t\u1eadn t\u1ee5y nh\u1ea5t c\u1ee7a Vi\u1ec7t Nam.<\/p>\n\tTran Dinh Thuc Doan<\/strong>
\nResearcher & Archivist, Art of Vietnam
\nNh\u00e0 nghi\u00ean c\u1ee9u & L\u01b0u tr\u1eef, Ngh\u1ec7 thu\u1eadt Vi\u1ec7t Nam\n\n","protected":false},"excerpt":{"rendered":"

I am deeply honoured to have been entrusted by Yves Cosqu\u00e9ric, a distinguished French auctioneer and judicial officer renowned for his expertise in art and antiques and the owner of Adjug’Art. It is a privilege to contribute to the auction of the remarkable works of Tr\u1ea7n Quang Tr\u00e2n (Ngym). As an archivist and researcher in …<\/p>\n","protected":false},"author":1,"featured_media":9438,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[5,714,377,379],"tags":[805,812,813,261,811,35,42,804],"class_list":["post-9448","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-archive","category-art-world-news","category-publications","category-southeast-asian-art","tag-adjugart","tag-dinh-thuc-doan-tran","tag-harpers-bazaar","tag-ngym","tag-thuc-doan","tag-tran-dinh-thuc-doan","tag-tran-quang-tran","tag-yves-cosqueric"],"_links":{"self":[{"href":"https:\/\/thucdoan.com\/index.php?rest_route=\/wp\/v2\/posts\/9448","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/thucdoan.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/thucdoan.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/thucdoan.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/thucdoan.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=9448"}],"version-history":[{"count":3,"href":"https:\/\/thucdoan.com\/index.php?rest_route=\/wp\/v2\/posts\/9448\/revisions"}],"predecessor-version":[{"id":9451,"href":"https:\/\/thucdoan.com\/index.php?rest_route=\/wp\/v2\/posts\/9448\/revisions\/9451"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/thucdoan.com\/index.php?rest_route=\/wp\/v2\/media\/9438"}],"wp:attachment":[{"href":"https:\/\/thucdoan.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=9448"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/thucdoan.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=9448"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/thucdoan.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=9448"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}