Truyện Kiều (The Tale of Kiều), a comprehensive archive of Nguyễn Du’s literary masterpiece, featuring digitized, searchable texts and high-resolution images of different editions dating back to 1866. As one of Vietnam’s most celebrated works, Truyện Kiều has undergone numerous adaptations and reinterpretations, reflecting the country’s evolving literary and cultural landscape. This collection not only preserves these historical texts but also enhances accessibility for scholars, students, and enthusiasts worldwide. A special highlight is the inclusion of a rare publication on the first cinematic adaptation of Kim Vân Kiều (1923), Vietnam’s earliest indigenous film. This unique addition provides insights into how Truyện Kiều was brought to the silver screen, showcasing the film’s historical significance and its role in shaping Vietnamese identity. By integrating texts, images, and multimedia, this digital archive serves as a vital resource for exploring Truyện Kiều's enduring legacy across time and media.

The Hán-Nôm Collection is the first digital library in the field of Han-Nom studies in Vietnam. The Vietnamese Nôm Preservation Foundation initiated the project in collaboration with other institutions such as the Institute of Sino-Nom Studies, the General Sciences Library in Ho Chi Minh City as well as the National Library of Vietnam. The Hán-Nôm Collection is comprised of all Hán-Nôm texts, Siddham (Sanskrit) inscriptions, gate carvings, and sanctuary placards at one of the oldest and most important Buddhist temples in Vietnam, the Chùa Thắng Nghiêm as well as the Han-Nom texts digitized by the National Library of Vietnam and the Vietnamese Nom Preservation Foundation. The Columbia University Digital Library Collection website currently hosts this collection. The Digitizing Việt Nam website serves as a digital hub for users to access this Hán-Nôm collection.

Quốc âm Thi tập stands as a seminal collection of poetry composed in chữ Nôm by the illustrious Vietnamese scholar-poet Nguyễn Trãi (1380–1442), and is widely regarded as one of the most foundational works in the canon of Vietnamese medieval literature. Written in vernacular Vietnamese rendered through the Nôm script, this collection not only embodies Nguyễn Trãi’s profound patriotism, ethical humanism, and moral philosophy, but also signifies a pivotal moment in the elevation of the Vietnamese vernacular as a legitimate and powerful medium of literary expression. In an effort to preserve and extend the reach of this literary treasure, the Nôm Na Office (Hà Nội) has undertaken a comprehensive digitization of Quốc âm Thi tập. The project provides a richly annotated edition, complete with modern Vietnamese translations and an adaptable search interface. This digital resource offers scholars, students, and literary enthusiasts an invaluable gateway to the cultural and linguistic heritage of premodern Vietnam, advancing the accessibility and appreciation of the Nôm script in contemporary scholarship and public life.

Đặng Trần Côn is the author of Chinh phụ Ngâm khúc (Lament of the Soldier’s Wife) – literary masterpiece written in Han script of Vietnam. Until nowadays, not much people know clearly about the biography of Đặng Trần Côn such as the specific year of his birth and death. It was estimated by researchers that he was born in about 1710 to 1720 and died in 1745 and lived in the dysnaty of King Lê, Trịnh Lord. Đặng Trần Côn’s hometown is Nhân Mục village or Mọc village, Thanh Trì district. Nowadays, it belongs to Nhân Chính ward, Thanh Xuân district, Ha Noi. He passed the interprovincial competition-examination but failed pre-court competition examination. Then, he became Head of Education Department and district chief of Thanh Oai province. Later, he was promoted as Royal adviser. There are a few anecdotes about Đặng Trần Côn. Legend said that Trinh Giang Lord banned people to fire or light up. He had to dig a tunnel underground and light up lamp to study. When starting composing poems, Đặng Trần Côn gave it to Đoàn Thị Điểm. She laughed and said that “you should study more to make poems”. The born of "Lament of the Soldier’s Wife" had caused great repercussions among contemporaryConfucians. It conveys the inner voices of a wife having her husband to ramble in the troubled frontier. The ambition for waiting husband of a wife, the loneliness, the expectation for a comeback day of the husband with victory was put into poem and touched the hearts of people. This work was written in Hán script while Nôm script was booming at that time. Thus, many people found ways to translate it in Nom script. There are a lot of translations and rough translations of Đoàn Thị Điểm, Nguyễn Khản, Bạch Liên Am Nguyễn, Phan Huy Ích. Among these versions, one translation may be regarded as the best called current version. Who is the author of this version is still a disputable issue. Some affirmed that it was Đoàn Thị Điểm while people of other trends said that the creator of this version was Phan Huy Ích.The Vietnamese Nom Preservation Foundation (VNPF) digitized and presented one version from the “digital library of Han Nom books” cooperated between The National Library of Vietnam (NLV) and The Vietnamese Nom Preservation Foundation (VNPF) with the digital number is nlvnpf-0064 and the library number is R.1560.

This Lục Vân Tiên collection presents the enduring vitality of Nguyễn Đình Chiểu’s narrative poem through various versions passed down across different regions, with particular attention to the version by Madam Châu Anh Phụng in Bến Tre. Her rendition features notable variations in language and expression, reflecting the reception and transformation of Lục Vân Tiên within the context of local culture. In doing so, the collection sheds light on the work’s role in the literary life and collective memory of Southern Vietnamese communities.

Poetry of Hồ Xuân Hương presents the bold and singular voice of Hồ Xuân Hương (c. 1775–1820s), one of Vietnam’s most celebrated poets. Writing during a time of political turmoil and social decline, she broke barriers as a woman composing poetry in chữ Nôm, the script of the Vietnamese vernacular, rather than classical Chinese. Her poems, rich with wit and double meanings, challenged the Confucian norms of her time. Beneath the elegant surface of her lu-shih verse lies sharp critique—of gender inequality, sexual repression, and religious hypocrisy. Ordinary objects like fans, swings, and fruit become vehicles for subtle eroticism and satire, making her poetry both daring and deeply human. Despite her audacity, Hồ Xuân Hương was widely respected for her literary skill. Her verses reflect not only humor and sensuality, but also spiritual longing and a search for justice and love.

Đại Việt Sử ký Toàn thư (History of Greater Vietnam) is a significant national historical chronicle. It was first fully woodblock-printed and published in the year Đinh Sửu, the 18th year of the Chính Hòa era under Emperor Lê Hy Tông, corresponding to 1697. In the preface to this publication—entitled Preface to the Continued Compilation of the Đại Việt Sử ký—the editorial team, led by Lê Hy, Grand Councillor and Minister of Justice and Director of the Imperial Secretariat, noted that this national history was the result of a long process of compilation and revision across multiple dynasties. As such, the "History of Greater Vietnam" is a comprehensive historical work that integrates many previous chronicles written by generations of historians—from Lê Văn Hưu of the Trần dynasty, to Phan Phu Tiên and Ngô Sĩ Liên, Vũ Quỳnh of the early Lê dynasty, and later Phạm Công Trứ and Lê Hy of the Revival Lê period—along with their collaborators. According to the printed edition based on woodblocks carved in the 18th year of Chính Hòa (1697), known as the Nội các quan bản (Cabinet Edition), and hereafter referred to as the Chính Hòa edition, this chronicle consists of a preface volume and 24 volumes of content, systematically recording the history of the Vietnamese people from the Hồng Bàng lineage to the year 1675. The Chính Hòa woodblock edition (printed in 1697) holds not only immense historical value but also stands as a priceless cultural heritage, reflecting the advanced techniques of woodblock printing, historical linguistics, and the Confucian political and moral thought of post-Lê dynasty Vietnamese society. It is also the only complete ancient printed edition of this work that has survived to this day, highly regarded by scholars both in Vietnam and abroad as a foundational source for studying the medieval history and culture of Đại Việt. At present, the Chính Hòa edition of the "History of Greater Vietnam" is preserved at the Library of Social Sciences (under the Vietnam Academy of Social Sciences). A searchable digital version of this 1697 edition has been designed and developed by the Văn phòng Nôm Na (Nom Na Office, Hanoi), with contributions from Tô Trọng Đức, Vũ Xuân Lương, Lê Văn Cường, Lương Thị Hạnh, and Ngô Thanh Giang, under the direction of Professor John Balaban, scholar Ngô Thanh Nhàn, and Dr. Ngô Trung Việt. (Available soon)