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, or ‘from below, looking up,’ is a European mural technique that employs optical effects to create the illusion of openings in walls,” Oanh elucidates. “This ceiling fresco is intended to be viewed in a similar manner, invoking the act of gazing up at the cosmos, only to find ourselves reflected back from above. It is only recently, through satellite technology, that we have gained this perspective—a remote yet seemingly accurate representation of the world 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 anticipate: curiosity tinged 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 lighting, these paintings reflect the image of the observer, sometimes hazily like smoke, sometimes in perfect, round shapes, and at other times distorted and scarred with inserted images. Standing before these works, one may feel as if confronting different aspects of oneself; at times good, at others bad, with emotions of joy, sorrow, or fear reflected on their face.
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 creations invite introspection while offering a glimpse into the collective unconscious. A versatile artist who does not dwell on the past, Tien also engages in community-based art projects 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 hues to create a shimmering surface. Lacquer, for him, is a means to discover or invent another imaginary reality, a way to manifest certain dreams. “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 works, forests, trees, and grass shimmer in the sunlight and fade into darkness. We find paths we long to walk, deep within the image and the dimensions of the past and future. There, we discover light and clouds. This symphony of silent relief, this chorus of light, ultimately succeeds in presenting nature in its most beautiful form.”
Born in 1981, Trung is among a cohort of young artists who have chosen to work with traditional lacquer. 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 work, offering diverse impressions to the public. However, their shared talent lies in their transformative use of the same material—Vietnamese lacquer—to create distinct artistic statements. This is a testament to the enduring nature and versatility of this traditional Vietnamese art form.
Lacquer: A Lifetime Medium
“Lacquer resin is mysterious and delicate,” explains Oanh, referring to the natural resin extracted from the ‘son’ tree, endemic to northern Vietnam. “It is a unique medium compared to other painting materials, which is why I’ve been working with it since 2004.”
“I am intrigued by the process of acculturation, combining ‘son mai’ with new materials and formats to expand the medium’s scope, reflect on cross-cultural histories, and situate it within broader art conversations,” she adds.
Vietnamese lacquer, an ancient varnish, underwent a transformation in the 20th century, becoming a recognized painting medium. This evolution represents a history of painting merging with lacquer. In Vietnamese, lacquer painting is known as ‘son mai.’ ‘Son’ refers to the material used for painting, while ‘mai’ means to smooth or polish. The lacquer is applied to a prepared board and, once dry, is sanded smooth, almost as if it’s being ‘taken off’ rather than ‘put on,’ unlike oil or acrylic painting.
Lacquerwork boasts a long history in Vietnam. Archaeological findings indicate that the materials used for painting were available in Vietnam approximately 2,500 years ago. Traditional lacquer painting is limited to a palette of black, red, brown, and red-brown, along with gold and silver patterns. Artists were historically known as professors of “son thiep vang,” referring to painted wood adorned with gold.
Traditionally, lacquer was used to preserve wooden statues in pagodas and, as techniques advanced, artisans employed it to decorate these statues. This led to its application in carved wooden furniture as well.
The finest lacquer is sourced from trees growing in the northern province of Phu Tho. It is collected before dawn, appearing as a glue-like substance, and when acquired by artists and craftspeople, it takes on a deep crimson hue.
 |
| “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 fine art medium, 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 (1938-1944), creating iconic works such as “Villagers” (1934) and “Midland Landscape of the North” (1940-1945).
Old 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, this laborious task is undertaken by specialists, and most artists purchase prepared panels, lacquer, pigments, and supplies from Hang Hom Street in the Old Quarter.
Due to the limited color range of traditional lacquer, artists often incorporate other media. Gold leaf is a luxurious option, while silver and steel powder are sprinkled on wet colors to lighten them and define outlines.
 |
| 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, instead favoring 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 traditional lacquer is the artist’s inability to control the shades of earthy colors that emerge after drying, which may explain why many gallery pieces are created using the more manageable 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 prefers 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 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, which have captivated audiences and found homes in the collections of both international and local collectors.
“The Vietnamese art scene has been thriving 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 on a deeper level. Clichéd images of Vietnam no longer hold the same allure; instead, collectors seek art that is aesthetically pleasing and narratively rich. “Talented and dynamic Vietnamese artists have been delivering on this front for the past few decades,” she affirms.
 |
| The exceptional lacquer artwork “Specula” by Phi Oanh Oanh. |
