Tranh ký hoạ các danh lam thắng cảnh nổi tiếng ở Việt Nam, nối bật các tỉnh
Các tranh ký hoạ kiến trúc khi đăng lên những nhóm AI đã nhận được khá nhiều sự quan tâm, đặc biệt là trong các cộng đồng AI về kiến trúc. Vì vậy, mình tạo thêm một số hình ảnh để phục vụ các bạn có nhu cầu tham khảo và sử dụng.
Architectural ink sketch with expressive watercolor washes depicting the Hùng Kings Temple Complex (Đền Hùng – Phú Thọ) as the sole subject.
The composition presents a poetic, gently ascending perspective along the ceremonial stone pathway leading up Nghĩa Lĩnh Mountain, subtly layering key architectural elements of the Hùng Kings Temple Complex. The scene focuses on the traditional Vietnamese temple architecture, including stone steps, ceremonial gates, tiled roofs with upturned corners, wooden columns, and the layered spatial progression from the Lower Temple (Đền Hạ) through the Middle Temple (Đền Trung) toward the Upper Temple (Đền Thượng). The arrangement feels symbolic and spiritual rather than strictly topographically accurate.
Architecture is illustrated using irregular black technical pen lines, expressive cross-hatching, and clearly visible overlapping pencil construction sketches, emphasizing a raw, hand-drawn, human-made quality. Linework carefully describes roof tiles, timber frames, stone stairways, and ancient trees surrounding the temples, reinforcing a sense of age, ritual, and continuity.
Wet-on-wet watercolor techniques create soft, organic flows in muted sepia, warm earth brown, aged brick red, moss green, pale stone gray, and deep ink-black tones—evoking the sacred, solemn, and ancestral atmosphere of the Hùng Kings Temple and the forested landscape of Phú Thọ.
Dynamic ink splashes and slightly uncontrolled strokes introduce subtle movement, paired with loose, partial watercolor washes typical of editorial architectural and cultural travel sketchbooks. Gentle contrast between light and shadow emphasizes the rhythm of stairways, the weight of stone, and the calm dignity of traditional Vietnamese temple forms.
At the bottom of the artwork, clearly include the handwritten Vietnamese text in a natural, hand-drawn calligraphy style:
Đền Hùng – Phú Thọ
The lower portion of the illustration remains intentionally unfinished, revealing raw pencil guidelines, faint architectural outlines, and visible watercolor drips flowing downward from above.The overall mood is reverent, nostalgic, and poetic—capturing the spiritual depth, cultural memory, and timeless symbolism of the Hùng Kings Temple Complex through an expressive, imperfect, high-resolution architectural sketch style.
Architectural ink sketch with expressive watercolor washes depicting iconic Hanoi landmarks.
The composition features a poetic, gently unfolding urban perspective, layering the Hanoi Opera House, the front gate of Văn Miếu – Quốc Tử Giám (Khuê Văn Các only), Chùa Một Cột, and the Mausoleum of President Hồ Chí Minh into a cohesive, reflective cityscape that conveys the historical and cultural soul of the capital.Urban architecture is illustrated with irregular black technical pen lines, intricate cross-hatching, and clearly visible overlapping pencil sketches, emphasizing a raw, hand-drawn, human-made quality. Wet-on-wet watercolor techniques create soft, organic flows in muted sepia, pale ochre, soft moss green, aged brick red, and deep ink-black tones—evoking the calm, scholarly, and contemplative atmosphere of Hanoi.
Dynamic ink splashes and slightly uncontrolled strokes introduce subtle movement, paired with loose, partial watercolor washes typical of editorial urban travel sketchbooks. Gentle contrast between light and shadow highlights architectural character—from the elegant neoclassical façade and columns of the Hanoi Opera House; the iconic Khuê Văn Các gate rendered front-facing only, with its tiled roof, circular window, stone pillars, flanking brick walls, tree canopies, and the central stone pathway leading up to the gate (no interior courtyards or inner structures visible); the minimalist spiritual form of Chùa Một Cột; to the solemn, monumental symmetry of the Hồ Chí Minh Mausoleum.
On the upper-right façade of the Hồ Chí Minh Mausoleum, clearly include the engraved inscription in bold, legible lettering:
“CHỦ TỊCH
HỒ CHÍ MINH”The lower portion of the artwork remains intentionally unfinished, revealing raw pencil construction lines, faint architectural outlines, and visible watercolor drips flowing downward from above. The overall mood is atmospheric, nostalgic, serene, and poetic—capturing the timeless, introspective spirit of Hanoi through an expressive, imperfect, high-resolution editorial sketch style.
Architectural ink sketch with expressive watercolor washes depicting iconic Ho Chi Minh City landmarks.
The composition features a dramatic urban perspective combining Ben Thanh Market, Independence Palace, Notre-Dame Cathedral Basilica of Saigon, and the Bitexco Financial Tower, layered naturally into a cohesive cityscape.Urban architecture is drawn with irregular black technical pen lines, intricate cross-hatching, and visible overlapping pencil sketches, emphasizing a raw, hand-drawn quality. Wet-on-wet watercolor techniques create abstract flows in warm sepia, burnt sienna, muted ochre, and deep black tones, evoking the heat and energy of Saigon.
Dynamic ink splashes and uncontrolled strokes add movement and spontaneity, with loose, partial washes typical of urban travel sketchbooks. Soft contrast between light and shadow highlights architectural details—from the clock tower and arches of Ben Thanh Market, the modern vertical silhouette of Bitexco, to the historic façade of Notre-Dame Cathedral and the balanced symmetry of Independence Palace.
The lower portion of the artwork remains intentionally unfinished, revealing raw pencil construction lines, faded outlines, and visible watercolor drips descending from above. The overall mood is atmospheric, nostalgic, and lively, capturing the spirit of Ho Chi Minh City through an expressive, editorial sketch style. High resolution, artistic imperfection preserved.
Architectural ink sketch with expressive watercolor washes depicting iconic Huế landmarks.
The composition features a poetic, gently unfolding urban perspective, layering the Kinh thành Huế, Chùa Thiên Mụ, and Cầu Tràng Tiền into a cohesive, tranquil cityscape that reflects the royal heritage and contemplative soul of the former imperial capital.Urban architecture is illustrated with irregular black technical pen lines, intricate cross-hatching, and clearly visible overlapping pencil sketches, emphasizing a raw, hand-drawn, human-made quality. Wet-on-wet watercolor techniques create soft, organic flows in muted sepia, pale ochre, soft moss green, river-gray, and deep ink-black tones—evoking the calm, nostalgic, and meditative atmosphere of Huế.
Dynamic ink splashes and slightly uncontrolled strokes introduce subtle movement, paired with loose, partial watercolor washes typical of editorial urban travel sketchbooks. Gentle contrast between light and shadow highlights architectural character—from the massive fortified walls, gates, and layered geometry of Kinh thành Huế; the slender, iconic pagoda tower and riverside serenity of Chùa Thiên Mụ; to the elegant steel arches and reflections of Cầu Tràng Tiền spanning the quiet flow of the Perfume River.
The lower portion of the artwork remains intentionally unfinished, revealing raw pencil construction lines, faint architectural outlines, and visible watercolor drips flowing downward from above. The overall mood is atmospheric, nostalgic, serene, and poetic—capturing the timeless, introspective spirit of Huế through an expressive, imperfect, high-resolution editorial sketch style.
Architectural ink sketch with expressive watercolor washes depicting iconic Quảng Nam – Đà Nẵng landmarks.
The composition features a poetic, gently unfolding urban–heritage perspective, layering the Golden Bridge on the summit of Bà Nà Hills, the Dragon Bridge of Đà Nẵng, Chùa Cầu, and the ancient streets of Hội An Old Town into a cohesive, reflective cityscape that conveys the cultural depth, historical continuity, and coastal–mountain spirit of Central Vietnam.Urban and heritage architecture is illustrated with irregular black technical pen lines, intricate cross-hatching, and clearly visible overlapping pencil sketches, emphasizing a raw, hand-drawn, human-made quality. Wet-on-wet watercolor techniques create soft, organic flows in muted sepia, pale ochre, soft moss green, aged timber brown, warm lantern amber, and deep ink-black tones—evoking the calm, nostalgic, and contemplative atmosphere of Quảng Nam – Đà Nẵng.
Dynamic ink splashes and slightly uncontrolled strokes introduce subtle movement, paired with loose, partial watercolor washes typical of editorial urban travel sketchbooks. Gentle contrast between light and shadow highlights architectural character—from the iconic Golden Bridge rendered as a flowing, elevated curve supported by massive weathered stone hands emerging from misty mountain clouds; the bold, sculptural form of the Dragon Bridge, suggested in partial profile with its sinuous dragon body and steel arches spanning the river; the historic Chùa Cầu depicted front-facing only, with its curved tiled roof, wooden beams, stone base, and tranquil reflection over the narrow canal (no interior details visible); to the layered rooftops, timber façades, lantern-lit balconies, and winding streets of Hội An Old Town, blending seamlessly into the surrounding composition.
The lower portion of the artwork remains intentionally unfinished, revealing raw pencil construction lines, faint architectural outlines, and visible watercolor drips flowing downward from above. The overall mood is atmospheric, nostalgic, serene, and poetic—capturing the timeless harmony between nature, heritage, and urban life in Quảng Nam – Đà Nẵng through an expressive, imperfect, high-resolution editorial sketch style.
Chùa Bút Tháp is represented as two distinct yet closely related architectural works:
• The main Chùa Bút Tháp temple appears as an elegant wooden structure with layered tiled roofs, pronounced upward-curving eaves, refined timber walls, and a calm, dignified silhouette. The wooden architecture shows age and craftsmanship through visible grain, joinery, and subtle irregularities, conveying classical northern Vietnamese temple aesthetics.
• Adjacent to it stands the Tháp Báo Nghiêm (stone pagoda), tall and slender, constructed from stacked stone blocks. The tower rises vertically in multiple tiers, each level marked by projecting stone ledges, small arched niches, and carved stone details. The surface displays aged stone textures, softened edges, and slight weathering, emphasizing its spiritual gravity and historical endurance. The relationship between the wooden temple and the stone pagoda is respectful and balanced, forming a harmonious architectural pair rather than a single merged structure.
The overall arrangement is conceptual and artistic rather than geographically exact, allowing Chùa Dâu, the wooden Chùa Bút Tháp, and the stone Tháp Báo Nghiêm to coexist harmoniously within one contemplative architectural narrative.
Architecture is illustrated using irregular black technical pen lines, expressive cross-hatching, and clearly visible overlapping pencil construction sketches, emphasizing a raw, hand-drawn, human-made quality. Fine linework carefully renders roof tiles, timber columns, brick masonry, and stone carvings, highlighting contrasts between brick, wood, and stone.
Wet-on-wet watercolor techniques create soft, organic flows in muted sepia, aged brick red, warm earth brown, soft moss green, pale stone gray, and deep ink-black tones—evoking the serene, scholarly, and meditative atmosphere of the Kinh Bắc region.
Dynamic ink splashes and slightly uncontrolled strokes introduce subtle movement, paired with loose, partial watercolor washes typical of editorial architectural and cultural travel sketchbooks. Gentle contrast between light and shadow emphasizes depth, layering, and the quiet dignity of early Vietnamese Buddhist architecture.
At the bottom of the artwork, clearly include the handwritten Vietnamese text in a natural, hand-drawn calligraphy style:
“Chùa Dâu và Chùa Bút Tháp – Bắc Ninh”
The lower portion of the illustration remains intentionally unfinished, revealing raw pencil guidelines, faint architectural outlines, and visible watercolor drips flowing downward from above.The overall mood is tranquil, reflective, and timeless—capturing the spiritual depth, historical continuity, and refined architectural language of Kinh Bắc Buddhism through an expressive, imperfect, high-resolution architectural sketch style.
Architectural ink sketch with expressive watercolor washes depicting the iconic architectural and cultural landscape of Ninh Bình, featuring Tràng An Landscape Complex, Bái Đính Pagoda, and the ancient capital of Hoa Lư as a unified, symbolic composition.
The composition unfolds in a poetic, layered vertical perspective inspired by the limestone karst terrain of Ninh Bình. In the foreground and mid-ground, Tràng An is represented through towering karst mountains, winding rivers, cave entrances, and small traditional boats gliding quietly on calm water, emphasizing the harmony between natural landscape and human presence. The scene flows naturally upward toward architectural landmarks embedded within the terrain.
Bái Đính Pagoda is depicted through its grand temple roofs, monumental stairways, stone balustrades, and tall pagoda silhouettes, conveying scale, spirituality, and the solemn rhythm of Buddhist architecture. The structures are partially revealed among mountains and mist, creating a sense of depth and reverence rather than literal architectural documentation.
The ancient capital of Hoa Lư is symbolized by traditional Vietnamese temple gates, stone walls, tiled roofs with upturned corners, and ceremonial courtyards, evoking the historical memory of Vietnam’s early imperial period. The architectural elements are arranged symbolically to suggest continuity from nature (Tràng An), to faith (Bái Đính), to history and statehood (Hoa Lư).
Architecture and landscape are illustrated using irregular black technical pen lines, expressive cross-hatching, and clearly visible overlapping pencil construction sketches, emphasizing a raw, hand-drawn, human-made quality. Linework carefully defines rock textures, roof tiles, timber structures, stone pathways, and water reflections.
Wet-on-wet watercolor techniques create soft, organic flows in muted sepia, limestone gray, moss green, jade green, earth brown, pale mist white, and deep ink-black tones—evoking the tranquil, sacred, and timeless atmosphere of Ninh Bình as a UNESCO cultural and natural heritage region.
Dynamic ink splashes and slightly uncontrolled strokes introduce gentle movement, paired with loose, partial watercolor washes typical of editorial architectural and landscape travel sketchbooks. Subtle mist effects soften transitions between mountains, water, and architecture, enhancing depth and serenity.
At the bottom of the artwork, clearly include the handwritten Vietnamese text in a natural, hand-drawn calligraphy style:
“Ninh Bình: Tràng An – chùa Bái Đính – Hoa Lư”
The lower portion of the illustration remains intentionally unfinished, revealing raw pencil guidelines, faint architectural and landscape outlines, and visible watercolor drips flowing downward from above.The overall mood is serene, monumental, and contemplative—capturing the unique synthesis of nature, spirituality, and history that defines Ninh Bình through an expressive, imperfect, high-resolution architectural landscape sketch style.
Architectural ink sketch with expressive watercolor washes depicting Bà Nà Hills (Đà Nẵng), combining its most iconic architectural and cultural elements into a single, symbolic composition.
The composition unfolds in a poetic, layered perspective set high above the clouds. At the upper portion of the scene, the Golden Bridge (Cầu Vàng) emerges gracefully from thick mountain mist, its monumental stone hands partially obscured by drifting clouds, creating a sense of weight and wonder. The bridge curves gently across the sky, acting as a visual crown for the entire composition.
A diagonal visual axis introduces the cable car system, with slender cable lines stretching across forested mountain slopes and small cable cabins suspended in mid-air, guiding the viewer’s eye downward and adding depth, scale, and movement to the scene.
In the mid-ground, the French Village (Làng Pháp) appears as a compact yet detailed architectural cluster, featuring stone-paved squares, Gothic-inspired façades, steep rooftops, towers, and a central cathedral silhouette. The village is rendered as a timeless European enclave floating among clouds, symbolic rather than geographically literal.
Separated from the European zone, a distinct spiritual precinct is dedicated to Linh Ứng Pagoda and the statue of Shakyamuni Buddha (Tượng Phật Thích Ca).The Buddha statue is depicted as a monumental white seated figure in a meditative posture, placed on a broad elevated platform and open courtyard, clearly freestanding and not leaning against any cliff or mountain wall. Stone stairways, balustrades, and a ceremonial plaza lead up to the statue, emphasizing its calm authority and sacred presence. The surrounding space is open to the sky, allowing clouds and light to flow freely around the figure, reinforcing serenity and spiritual elevation rather than dramatic cliffside tension.
The Linh Ứng Pagoda architecture—curved tiled roofs, layered terraces, and stone pathways—is harmoniously integrated nearby, forming a tranquil Eastern counterbalance to the French Village, creating a clear yet poetic dialogue between Eastern spirituality and Western architecture.
Architecture and landscape are illustrated using irregular black technical pen lines, expressive cross-hatching, and clearly visible overlapping pencil construction sketches, emphasizing a raw, hand-drawn, human-made quality. Linework carefully defines stone textures, roof tiles, cable structures, sculptural forms, and mountain contours.
Wet-on-wet watercolor techniques create soft, organic flows in cool cloud white, limestone gray, muted ochre, pale gold, forest green, soft moss green, and deep ink-black tones—evoking the ethereal, elevated, and contemplative atmosphere of Bà Nà Hills above the clouds.
Dynamic ink splashes and gently uncontrolled strokes introduce subtle movement, paired with loose, partial watercolor washes typical of editorial architectural and travel sketchbooks. Soft mist transitions unify architecture, landscape, and sky into a cohesive, dreamlike scene.
At the bottom of the artwork, clearly include the handwritten Vietnamese text in a natural, hand-drawn calligraphy style:
“Bà Nà Hills – Đà Nẵng”
The lower portion of the illustration remains intentionally unfinished, revealing raw pencil guidelines, faint architectural outlines, and visible watercolor drips flowing downward from above.
The overall mood is majestic, poetic, and serene—capturing the unique blend of landscape, European architecture, and Eastern spirituality that defines Bà Nà Hills through an expressive, imperfect, high-resolution architectural sketch style.
Architectural ink sketch with expressive watercolor washes depicting the Wooden Church of Kon Tum (Nhà thờ Gỗ Kon Tum) as the sole subject.
The composition focuses on a frontal three-quarter view of the wooden cathedral, emphasizing its tall Gothic-inspired structure, steep tiled roof, central bell tower, pointed arches, and symmetrical wooden façade. The church stands quietly within a natural setting, with subtle hints of surrounding trees and open space, without any modern buildings or urban clutter.
Urban architecture is illustrated using irregular black technical pen lines, intricate cross-hatching, and clearly visible overlapping pencil construction sketches, highlighting a raw, hand-drawn, human-made quality. Fine linework carefully describes wooden beams, columns, roof trusses, and carved details characteristic of traditional Central Highlands craftsmanship.
Wet-on-wet watercolor techniques create soft, organic flows in warm wood-brown, burnt umber, muted sepia, soft moss green, earth yellow, and deep ink-black tones—evoking the calm, sacred, and contemplative atmosphere of the Central Highlands and the natural warmth of aged timber.
Dynamic ink splashes and slightly uncontrolled strokes introduce subtle movement, paired with loose, partial watercolor washes typical of editorial architectural travel sketchbooks. Gentle contrast between light and shadow highlights the texture of wood, the depth of the roof structure, and the vertical rhythm of columns and arches.
At the bottom of the artwork, clearly include the handwritten text in Vietnamese, in a natural hand-drawn calligraphy style:
“Nhà thờ gỗ Kon Tum”
The lower portion of the illustration remains intentionally unfinished, revealing raw pencil guidelines, faint architectural outlines, and visible watercolor drips flowing downward from above.The overall mood is atmospheric, nostalgic, serene, and poetic—capturing the timeless spiritual presence of the Wooden Church of Kon Tum through an expressive, imperfect, high-resolution architectural sketch style.
Architectural ink sketch with expressive watercolor washes depicting the Holy See of Cao Đài (Tòa Thánh Cao Đài Tây Ninh) as the sole subject, presented as a symbolic and ceremonial architectural composition.
The composition centers on the grand frontal façade of the Cao Đài Holy See, emphasizing its symmetrical layout, twin towers, central dome, and richly ornamented entrance. The building’s distinctive fusion of Eastern and Western architectural languages is clearly expressed—combining temple-like roofs, church-inspired verticality, and ceremonial axial alignment. The perspective is slightly elevated and frontal, enhancing monumentality and spiritual presence rather than strict photographic realism.
Key architectural elements are carefully highlighted: the tall twin bell towers, arched openings, layered terraces, decorative columns, and the iconic Divine Eye (Thiên Nhãn) positioned above the main entrance as the spiritual focal point. The surrounding ceremonial courtyard and open space are suggested subtly, keeping the composition calm and uncluttered.
Architecture is illustrated using irregular black technical pen lines, expressive cross-hatching, and clearly visible overlapping pencil construction sketches, emphasizing a raw, hand-drawn, human-made quality. Linework delicately renders ornamental details, symbolic motifs, façade rhythms, and structural symmetry while maintaining an editorial sketchbook character.
Wet-on-wet watercolor techniques create soft, organic flows in pale pastel tones characteristic of the Cao Đài Holy See—soft cream, warm ivory, light sky blue, muted pink, pale yellow, gentle turquoise, and deep ink-black—evoking a sacred, otherworldly, and harmonious atmosphere.
Dynamic ink splashes and gently uncontrolled strokes introduce subtle spiritual energy, paired with loose, partial watercolor washes typical of editorial architectural and cultural travel sketchbooks. Light and shadow are handled softly, reinforcing serenity, balance, and ritual calm rather than dramatic contrast.
At the bottom of the artwork, clearly include the handwritten Vietnamese text in a natural, hand-drawn calligraphy style:
“Tòa Thánh Cao Đài – Tây Ninh”
The lower portion of the illustration remains intentionally unfinished, revealing raw pencil guidelines, faint architectural outlines, and delicate watercolor drips flowing downward from above.The overall mood is sacred, mystical, and contemplative—capturing the unique spiritual philosophy, symbolic architecture, and inclusive religious vision of the Cao Đài Holy See through an expressive, imperfect, high-resolution architectural sketch style.
