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The Art of Vietnamese Lacquer: A Fusion of Ancient Craft and Contemporary Design

Vietnamese lacquer art, born in the early 20th century, has withstood the test of time and artistic evolution to remain a vibrant and essential part of the country's fine arts scene today.

Administrator

26 February, 2025

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A collective of innovative contemporary artists have injected new life into Vietnam’s distinctive lacquer art. Among them is Phi Oanh Oanh (b. 1979), a Vietnamese artist who has mastered the art of reinventing traditional painting techniques, transforming vast spaces into awe-inspiring lacquer masterpieces.

The lacquer artwork ‘Mappa Mundi’ by Phi Oanh Oanh. Image courtesy of the artist.

Recently, enthusiasts of Vietnamese lacquer art were treated to a unique and monumental lacquer painting in Hanoi. Titled “Mappa Mundi,” the 244cm x 244cm artwork was suspended from the ceiling, offering viewers a distinctive and captivating experience. Crafted from lacquer and pigments on wood, the piece is characterized by its exploration of dichotomies and inversions between East and West, the archaic and high-tech, and the comic and earthly.

The grand-scale reproduction of a satellite image of the Earth is strategically hung to evoke a sense of awe and illusion, reminiscent of classic European murals. Illuminated by soft spotlights from the floor, the rich hues of the lacquer painting and its ever-shifting shades captivate the viewer, providing an enhanced visual journey. Standing beneath this masterpiece, one feels minuscule within the vast, vibrant, and imaginative universe it portrays.

“Sotto in Su, translated as ‘from below looking up,’ is a European mural painting technique that employs optical effects to create the illusion of openings in walls,” Oanh elucidates. “The ceiling fresco is intended to be viewed from below, akin to how we gaze up at the night sky to behold the cosmos. However, what we observe is a reflection gazing down from space. It is only recently, through satellite technology, that we have attained this perspective—a distant representation of the earth below. In this painting, I utilize a static satellite image of our planet to create ‘Mappa Mundi’ using local materials.”

Phi Oanh Oanh’s “Specula” is a 7.2-meter-long and 2.4-meter-wide tunnel adorned with lacquer murals, inviting viewers to step inside.

Contrarily, Le Thua Tien’s lacquer paintings evoke a different sentiment in viewers, one that is difficult to foretell: curiosity mingled with skepticism. However, upon spending time with each of the 240cm x 115cm paintings, titled ‘Reflection 1,’ ‘Reflection 2,’ and ‘Reflection 3,’ one can truly appreciate and ‘feel’ their essence.

Illuminated by lights, these paintings reflect the image of the person standing before them. The shades vary from hazy, smoke-like hues to rounded, beautiful shapes, sometimes distorted and scarred, with inserted images. Standing in front of these paintings, viewers may feel as if they are confronting themselves; seeing their good and bad sides, their joys and sorrows, and their fears reflected in their countenance.

Le Thua Tien (b. 1964), a native of Hue, Vietnam’s former imperial capital, where war and time have left indelible marks, creates works imbued with abstract simulacra of his own memories and those of the city.

His oeuvre encompasses paintings, sculptures, and installations that extensively employ traditional lacquer while also experimenting with other objects and materials. These stately and somber works invite introspection while offering a glimpse into the collective unconscious. A versatile artist who doesn’t dwell on the past, Tien also engages in community-based art initiatives that address contemporary issues.

“Reflection 2” by Le Thua Tien.

Another artist, Vu Duc Trung (b. 1981), imparts an extremely serene feeling through his lacquer works, including “Forest Melody,” “Winter Morning,” “Autumn Dream,” and “Blue Wild Grass.”

Trung incorporates landscapes into his abstract lacquer paintings, layering delicate shades to create a shimmering surface. Lacquer enables him to discover or invent another imaginary reality, a space to dream. “It may never exist, but it brings me peace,” he muses.

Raquelle Azran, an American art collector, describes Trung’s paintings as follows: “In these meticulously crafted and exquisite paintings, forests, trees, and grass shimmer in the sun and fade into darkness. We find paths we long to walk, deep within the image and deep within the dimensions of the past and future. There, we discover light and clouds. This silent symphony of color ultimately presents nature in its most beautiful form.”

Born in 1981, Trung is among the young artists who have chosen to work with traditional lacquer materials. He graduated from the Lacquer Department at the Hanoi University of Industrial Fine Arts in 2003 and subsequently obtained a Fine Arts degree from the Vietnam University of Fine Arts in 2007.

“Forest Melody” by Vu Duc Trung.

Each of the aforementioned artists brings a unique background and expression to their personal works, offering diverse impressions to the public. However, their shared talent lies in their transformative power, taking the same material—Vietnamese lacquer—and crafting it into something uniquely their own. This is a testament to the longevity and versatility of this traditional Vietnamese painting medium.

Lacquer: A Timeless Medium

“Lacquer resin, extracted from the ‘son’ tree found only in northern Vietnam, is a mysterious and delicate natural resin,” explains Oanh, reflecting on why she has worked with this material since 2004. “It is a unique medium compared to other painting materials, and I am intrigued by the process of acculturation—combining ‘son mai’ with new materials and formats to expand its scope as an image, reflect on cross-cultural histories, and situate it within broader art conversations.”

Vietnamese lacquer, an ancient varnish, underwent a transformation in the 20th century, evolving into a painting medium. This marks a significant shift in the history of painting, with lacquer playing a central role. In Vietnamese, lacquer painting is known as ‘son mai,’ with ‘son’ translating to a noun denoting the material used for painting, and ‘mai’ as a verb meaning to smooth or polish. The application process involves coating a prepared board with lacquer, which is then sanded smooth once dry. This technique can be defined as ‘taking off,’ contrasting with oil or acrylic painting, which is more akin to ‘putting on.’

Lacquerwork boasts a rich history in Vietnam. Archaeological findings indicate that the materials used for painting were available in Vietnam approximately 2,500 years ago. Traditional painting is limited to a palette of black, red, brown, and red-brown, along with gold and silver patterns. Artists skilled in this craft were known as professors of “son thiep vang,” referring to painted wood adorned with gold.

Historically, lacquer was used in Vietnam to preserve wooden statues in pagodas, and as techniques advanced, artisans employed it to decorate these statues. This led to the application of lacquer on carved wooden furniture, a natural progression.

The finest lacquer is sourced from trees growing in the northern province of Phu Tho. Artists and craftspeople collect this resin before daylight, when it resembles a glue-like substance. When brought to them, the lacquer is black and deep crimson.

“Blue Wild Grass” by Vu Duc Trung.

In 1925, a French lecturer at the Ecole des Beaux Arts in Hanoi encouraged students to explore and experiment with lacquer as a medium in fine art, and it gradually gained recognition. This marked the birth of the terms “lacquer” and “lacquer painting” in Vietnamese contemporary art.

Among the pioneers of Vietnamese lacquer painting were Pham Hau (1903-1994) and Nguyen Gia Tri (1908-1993). They led the way during the golden age of lacquer painting, from 1938 to 1944, with iconic works such as “Villagers” (1934) and “Midland Landscape of the North” (1940-1945).

Ancient Medium, Modern Techniques

Lacquerwork is typically painted on wood or glued plywood, layered with 14 to 20 coats of pure lacquer (except for the third layer, which is cheap cloth). Each layer is dried and sanded to a velvety finish before the next is applied. In Hanoi’s Duyen Thai village, artists can have this laborious task done for them, and most purchase their prepared panels, lacquer, pigments, and supplies from Hang Hom Street in the city’s Old Quarter.

Due to the limited color range of traditional lacquer, artists often turn to other media. Gold leaf is a costly option, while silver and steel powder are sprinkled on wet colors to lighten them and define outlines.

A portrait of the artist Vu Duc Trung. Image courtesy of the artist.

One of the most striking effects is achieved using eggshells. Eggshells are sorted by color, from subtle browns to duck egg blues and soft whites, and then gently crushed. Varnish is applied to a section of the painting, and the eggshells are carefully placed on top. Once dry, the surface is sanded and polished to a flat, smooth finish.

Many contemporary lacquer painters opt not to use eggshells due to the lengthy and tedious process involved. Instead, they use Japanese pigments to add pops of color. Relatively new to the scene, Japanese pigments dry quickly in dry conditions and come in a vast array of colors. However, when using these pigments, artists must apply them before the varnish. The most thrilling yet daunting aspect of working with traditional lacquer is the unpredictability of the earthy shades that emerge after drying. This uncertainty may explain why many lacquer artworks in shops and galleries are created using the more controllable Japanese medium.

Mappa Mundi installed in Sous la Lune, an exhibition co-produced by the Palais de Tokyo (Paris) and the Institute of Contemporary Arts Singapore, at ICAS. Image: Truphotos.com

Painter Vu Duc Trung is one such artist who favors Japanese pigments to add accents of color. His lacquer paintings require meticulous planning to ensure that the flecks and highlights provided by the Japanese pigment are not overwhelmed by subsequent applications and sanding. After years of training in purely traditional techniques, he has been experimenting with other pigments for the past 15 years.

Trung’s mastery of traditional lacquer materials is evident in the success of his paintings. They have captured the hearts of viewers and found homes in the collections of both international and local collectors.

“The Vietnamese art scene has been vibrant and dynamic over the past two decades,” notes Quynh Pham, director of Galerie Quynh in Ho Chi Minh City. “This bodes well for the sustainability of the art ecosystem, as an increasing number of local collectors are showing interest in Vietnamese art and supporting local artists.”

According to Quynh Pham, Vietnamese artists appeal to foreign collectors because their works resonate with them. Clichéd images of Vietnam no longer hold the same allure; instead, collectors seek art that is aesthetically pleasing and tells a story. “Talented and dynamic Vietnamese artists have been achieving this for the past few decades,” she affirms.