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VIETNAMESE LACQUER PAINTING
VIRTUAL EXHIBITION
VIETNAMESE LACQUER PAINTING
Vietnamese People
30 paintings with the theme of People depicts the bustling work-life and emotional spirit of Vietnamese people. The paintings feature glamorous urban girls, busy farmers and workers, playing children, reunited families, and dating couples. All of them have promoted the resilient vitality of the Vietnamese people and their good values: hard-working, passionate and creative.
Vietnamese People
30 paintings with the theme of People depicts the bustling work-life and emotional spirit of Vietnamese people. The paintings feature glamorous urban girls, busy farmers and workers, playing children, reunited families, and dating couples. All of them have promoted the resilient vitality of the Vietnamese people and their good values: hard-working, passionate and creative.
Vietnamese Country
Vietnamese nature and landscape has always been an inspiration to lacquer artists. In their works, artists not only express their emotions about the natural beauty of the country, but also convey their sentiments and philosophies about life. Using the distinctive sanding technique, artists have created works imbued with the national spirit. The theme Country is depicted in 20 lacquer paintings in this exhibition, presenting the colorful and extraordinary scenery in Vietnam.
Vietnamese Country
Vietnamese nature and landscape has always been an inspiration to lacquer artists. In their works, artists not only express their emotions about the natural beauty of the country, but also convey their sentiments and philosophies about life. Using the distinctive sanding technique, artists have created works imbued with the national spirit. The theme Country is depicted in 20 lacquer paintings in this exhibition, presenting the colorful and extraordinary scenery in Vietnam.
Development
Vietnamese lacquer painting is the result of a sophisticated research process, conducted by students at the Indochina College of Fine Arts.
At the beginning period (1925 -1945), many artworks were created by new techniques and the original lacquer palette, including vermilion, black, brown, white and other materials such as gold and silver. These pieces are significant artworks in Viet Nam.
The next period (1945 – 1990) is when many Vietnamese modern artists tried to explore new things and partly shape the current lacquer art. They developed the color palette (adding green and blue), created visual effects on the painting surface, described the light with different shades of color and depicted the depth of space. Along with an attempt to make lacquer paintings more realistic, artists succeeded in creating masterpieces by finding creative ways of using traditional lacquer themes.
Today, the lacquer palette varies significantly, with techniques being modernized like inlaying snail-shell, gravel, and metal. The language of art is no longer limited to decorative or realistic style, but covers cubism, abstract, and expression. In addition, the topic of lacquer painting becomes more diverse, reflecting all aspects of life and society.
Development
Vietnamese lacquer painting is the result of a sophisticated research process, conducted by students at the Indochina College of Fine Arts.
At the beginning period (1925 -1945), many artworks were created by new techniques and the original lacquer palette, including vermilion, black, brown, white and other materials such as gold and silver. These pieces are significant artworks in Viet Nam.
The next period (1945 – 1990) is when many Vietnamese modern artists tried to explore new things and partly shape the current lacquer art. They developed the color palette (adding green and blue), created visual effects on the painting surface, described the light with different shades of color and depicted the depth of space. Along with an attempt to make lacquer paintings more realistic, artists succeeded in creating masterpieces by finding creative ways of using traditional lacquer themes.
Today, the lacquer palette varies significantly, with techniques being modernized like inlaying snail-shell, gravel, and metal. The language of art is no longer limited to decorative or realistic style, but covers cubism, abstract, and expression. In addition, the topic of lacquer painting becomes more diverse, reflecting all aspects of life and society.
Vietnamese Lacquer Painting
Lacquer painting, a traditional art in Viet Nam, was refined during the 1930s. It is the combination of sanding technique and main material named son ta. Lacquer painting is considered as the soul of Vietnamese people, representing both thoughts and talent of the artist. The traditional material coupled with the modern art technique has created special value to this art form. Hence, Vietnamese lacquer painting has increasingly drawn attention from the international community and inspired many foreign artists.
To promote this unique Vietnamese art form to international friends as well as the overseas Vietnamese, the Department of Cultural Diplomacy and UNESCO, under the Viet Nam Ministry of Foreign Affairs, has collaborated with the Viet Nam Fine Arts Museum to organize the first Virtual Exhibition on Vietnamese Lacquer Painting. In which, the public will have an opportunity to admire 50 notable lacquer paintings of Vietnamese famous artists, as well as to discover techniques and historical development behind this distinctive genre of art.
Vietnamese Lacquer Painting
Lacquer painting, a traditional art in Viet Nam, was refined during the 1930s. It is the combination of sanding technique and main material named son ta. Lacquer painting is considered as the soul of Vietnamese people, representing both thoughts and talent of the artist. The traditional material coupled with the modern art technique has created special value to this art form. Hence, Vietnamese lacquer painting has increasingly drawn attention from the international community and inspired many foreign artists.
To promote this unique Vietnamese art form to international friends as well as the overseas Vietnamese, the Department of Cultural Diplomacy and UNESCO, under the Viet Nam Ministry of Foreign Affairs, has collaborated with the Viet Nam Fine Arts Museum to organize the first Virtual Exhibition on Vietnamese Lacquer Painting. In which, the public will have an opportunity to admire 50 notable lacquer paintings of Vietnamese famous artists, as well as to discover techniques and historical development behind this distinctive genre of art.
Phùng Phẩm (1934)
Fighting Against Drought
1990 | Lacquer
113 x 133 cm
This lacquer painting depicts a riverbank in the dry season where women are gathering water in the midst of a drought. The women’s postures convey motion and purpose. All of them are moving: some are bent to draw water, some are carrying their loads toward the riverbank, and some are running toward the river. The weight of the water is evident by their feet pressed firmly to the ground and the bend of the carrying-poles on their shoulders. The black background highlights the figures and their curved white hats, accentuating the rhythm of their work.
The painter Phung Pham works mainly with lacquer and woodcuts. His style is two-dimensional, rather than realistic or blocky. He enjoys drawing shapes, lines, and stylized motifs. The use of many flat shapes and strokes to represent figures and clothes is typical of Vietnamese folk woodcut art, revealing his distinctive style. Phung Pham’s Fighting Against Drought won the Gold Medal at the National Fine Arts Exhibition in 1990.
Phùng Phẩm (1934)
Fighting Against Drought
1990 | Lacquer
113 x 133 cm
This lacquer painting depicts a riverbank in the dry season where women are gathering water in the midst of a drought. The women’s postures convey motion and purpose. All of them are moving: some are bent to draw water, some are carrying their loads toward the riverbank, and some are running toward the river. The weight of the water is evident by their feet pressed firmly to the ground and the bend of the carrying-poles on their shoulders. The black background highlights the figures and their curved white hats, accentuating the rhythm of their work.
The painter Phung Pham works mainly with lacquer and woodcuts. His style is two-dimensional, rather than realistic or blocky. He enjoys drawing shapes, lines, and stylized motifs. The use of many flat shapes and strokes to represent figures and clothes is typical of Vietnamese folk woodcut art, revealing his distinctive style. Phung Pham’s Fighting Against Drought won the Gold Medal at the National Fine Arts Exhibition in 1990.
Nguyễn Gia Trí (1908-1993)
Standing Screen
Women in a Garden – A Rustic Landscape
1939 | Lacquer
National Treasure
159 x 140 cm
The Standing Screen by painter Nguyen Gia Tri is created on both sides of an eight-piece board, highlighting Nguyen Gia Tri’s unique approach and style.
Women in a Garden, with its backdrop of tranquil floral elements, depicts seven women of different ages, symbolizing the passage of women’s lives. A Rustic Landscape, portrays a tropical garden with bright motifs on a dark background, incorporating strong, clear strokes and decorative features.
Standing Screen is a harmonious blend of Western and traditional art, showing the artist’s talent for applying different techniques, including carving, embossing, gilding, and polishing. This mixed media style creates a dramatic effect. Nguyen Gia Tri’s skill in inlaying eggshell can be seen in the way the shell blends seamlessly with the painting.
Standing Screen raised awareness about and increased the value of the lacquer technique in Vietnamese paintings. In 2017, Vietnam recognized Nguyen Gia Tri’s work as a National Treasure.
Nguyễn Gia Trí (1908-1993)
Standing Screen
Women in a Garden – A Rustic Landscape
1939 | Lacquer
National Treasure
159 x 140 cm
The Standing Screen by painter Nguyen Gia Tri is created on both sides of an eight-piece board, highlighting Nguyen Gia Tri’s unique approach and style.
Women in a Garden, with its backdrop of tranquil floral elements, depicts seven women of different ages, symbolizing the passage of women’s lives. A Rustic Landscape, portrays a tropical garden with bright motifs on a dark background, incorporating strong, clear strokes and decorative features.
Standing Screen is a harmonious blend of Western and traditional art, showing the artist’s talent for applying different techniques, including carving, embossing, gilding, and polishing. This mixed media style creates a dramatic effect. Nguyen Gia Tri’s skill in inlaying eggshell can be seen in the way the shell blends seamlessly with the painting.
Standing Screen raised awareness about and increased the value of the lacquer technique in Vietnamese paintings. In 2017, Vietnam recognized Nguyen Gia Tri’s work as a National Treasure.
Phạm Đức Cường (1916-1990)
Site No. 9 on the Rut River
1961 | Lacquer
57.8 x 87.5 cm
This painting shows activity at a worksite in the northern mountains, not long after peace was restored in the North. The whole painting is done in a deep reddish-brown color. The glow on the horizon and the gold highlights on the water create the impression of a brilliant sunset. Although the lacquer palette is limited, using special techniques, the artist demonstrates the material's extraordinary luminosity and expressiveness.
Pham Duc Cuong did in-depth research on local lacquerware techniques and the lacquer painting process. He shared his knowledge and experience with this medium in the book Lacquer Technique, which has been widely used in the art world and reprinted many times
Phạm Đức Cường (1916-1990)
Site No. 9 on the Rut River
1961 | Lacquer
57.8 x 87.5 cm
This painting shows activity at a worksite in the northern mountains, not long after peace was restored in the North. The whole painting is done in a deep reddish-brown color. The glow on the horizon and the gold highlights on the water create the impression of a brilliant sunset. Although the lacquer palette is limited, using special techniques, the artist demonstrates the material's extraordinary luminosity and expressiveness.
Pham Duc Cuong did in-depth research on local lacquerware techniques and the lacquer painting process. He shared his knowledge and experience with this medium in the book Lacquer Technique, which has been widely used in the art world and reprinted many times
Trần Văn Cẩn (1910-1994)
Bailing Water into the Rice Field
1958 | Lacquer
60.5 x 92 cm
This painting shows the joy of farmers engaged in collective labor in the early years of the North's liberation and the beginning of the agricultural cooperative movement.
In a vast field, two rows of smiling, cheerful young people are bringing water to the crops. The women wear headscarves in a style typical of northern rural women. They are bending and moving, as if dancing. In the distance to the right of the bamboo cluster, a white stork flies back to its nest, adding warmth and peace to the setting.
The painting gracefully captures the natural environment of the field. The artist uses delicate strokes and many details to achieve realism with the lacquer – a difficult medium to use because of its limited palette and complex techniques. This painting won First Prize at the National Fine Arts Exhibition in 1958 and contributed to the artist receiving the Ho Chi Minh Prize for Literature and Art in 1996.
Trần Văn Cẩn (1910-1994)
Bailing Water into the Rice Field
1958 | Lacquer
60.5 x 92 cm
This painting shows the joy of farmers engaged in collective labor in the early years of the North's liberation and the beginning of the agricultural cooperative movement.
In a vast field, two rows of smiling, cheerful young people are bringing water to the crops. The women wear headscarves in a style typical of northern rural women. They are bending and moving, as if dancing. In the distance to the right of the bamboo cluster, a white stork flies back to its nest, adding warmth and peace to the setting.
The painting gracefully captures the natural environment of the field. The artist uses delicate strokes and many details to achieve realism with the lacquer – a difficult medium to use because of its limited palette and complex techniques. This painting won First Prize at the National Fine Arts Exhibition in 1958 and contributed to the artist receiving the Ho Chi Minh Prize for Literature and Art in 1996.
Phan Kế An (1923-2018)
Remembering the Northwest Afternoon
1955 | Lacquer
69.8 x 112.3 cm
Painter Phan Ke An depicted the dramatic mountains and forests of the Northwest on a sunny afternoon. Atop the mountain ridge, a small band of guerrilla fighters in simple clothes and armed with rudimentary weapons are marching with the confidence of victors. This painting has unique artistic value because it demonstrates many advances in style and technique. It uses traditional lacquer with a Western-style format. The main colors are green and yellow. The yellow of the mountains is lighter than the gold of the sky. The greens show depth and distance and contrast with the afternoon sunlight.
The artist effectively captures the afternoon light and depth of the mountain range by experimenting with greens and yellows, instead of the browns, blacks, reds, and golds typically used in lacquer painting. His achievements contributed to the advancement of modern Vietnamese lacquer painting.
Phan Kế An (1923-2018)
Remembering the Northwest Afternoon
1955 | Lacquer
69.8 x 112.3 cm
Painter Phan Ke An depicted the dramatic mountains and forests of the Northwest on a sunny afternoon. Atop the mountain ridge, a small band of guerrilla fighters in simple clothes and armed with rudimentary weapons are marching with the confidence of victors. This painting has unique artistic value because it demonstrates many advances in style and technique. It uses traditional lacquer with a Western-style format. The main colors are green and yellow. The yellow of the mountains is lighter than the gold of the sky. The greens show depth and distance and contrast with the afternoon sunlight.
The artist effectively captures the afternoon light and depth of the mountain range by experimenting with greens and yellows, instead of the browns, blacks, reds, and golds typically used in lacquer painting. His achievements contributed to the advancement of modern Vietnamese lacquer painting.
Phạm Hậu (1903-1995)
Summer Wind
1940 | Lacquer
67.7 x 149 cm
Summer Wind is typical of the work by Pham Hau, one of the artists who laid the foundation for modern Vietnamese lacquer painting. The painting represents a significant achievement in lacquer techniques in the early stage of modern Vietnamese lacquer painting. It also became a classic reference work for artists on how to apply and combine lacquer materials and techniques to create a complex and sophisticated painting.
In Summer Wind the artist captures the subtle movement of space and time in lacquer paint. The main color in the piece is red. The painting shows wind, mist, and raindrops, as well as the wavy surface of a pond and the soft rustle of lotus petals. A dragonfly clings to the stem of one of the flowers as it struggles in the wind. Withering lotus leaves and a frog are visible in the foreground. Nature, heaven and earth seem to be present in this lacquer work. The work reflects the artist's perceptions on the cycle of life and the natural law of existence.
Phạm Hậu (1903-1995)
Summer Wind
1940 | Lacquer
67.7 x 149 cm
Summer Wind is typical of the work by Pham Hau, one of the artists who laid the foundation for modern Vietnamese lacquer painting. The painting represents a significant achievement in lacquer techniques in the early stage of modern Vietnamese lacquer painting. It also became a classic reference work for artists on how to apply and combine lacquer materials and techniques to create a complex and sophisticated painting.
In Summer Wind the artist captures the subtle movement of space and time in lacquer paint. The main color in the piece is red. The painting shows wind, mist, and raindrops, as well as the wavy surface of a pond and the soft rustle of lotus petals. A dragonfly clings to the stem of one of the flowers as it struggles in the wind. Withering lotus leaves and a frog are visible in the foreground. Nature, heaven and earth seem to be present in this lacquer work. The work reflects the artist's perceptions on the cycle of life and the natural law of existence.
Nguyễn Khang (1912-1989)
Peace and Friendship
1958 | Lacquer
91 x 92 cm
This unique decorative lacquer work is typical of painter Nguyen Khang. In this piece, the artist painted four women representing the people of Asia, Europe, Africa, and Latin America. Surrounded by flowers, leaves, and birds, they symbolize unity and harmony around the world. The women are arranged in graceful positions, forming a peaceful, rhythmic dance. The traditional motifs of flowers, doves, and goldfish help to balance the composition.
With fluid drawing, gentle contours, and a neutral palette, the artist introduces a new style and spirit, to the ancient form of a decorative art that took shape before 1945. The painting reflects the artists view of the centrality of peace and friendship for the world’s humanity. This is one of the works that contributed to the artist receiving the Ho Chi Minh Prize for Literature and Art in 2000.
Nguyễn Khang (1912-1989)
Peace and Friendship
1958 | Lacquer
91 x 92 cm
This unique decorative lacquer work is typical of painter Nguyen Khang. In this piece, the artist painted four women representing the people of Asia, Europe, Africa, and Latin America. Surrounded by flowers, leaves, and birds, they symbolize unity and harmony around the world. The women are arranged in graceful positions, forming a peaceful, rhythmic dance. The traditional motifs of flowers, doves, and goldfish help to balance the composition.
With fluid drawing, gentle contours, and a neutral palette, the artist introduces a new style and spirit, to the ancient form of a decorative art that took shape before 1945. The painting reflects the artists view of the centrality of peace and friendship for the world’s humanity. This is one of the works that contributed to the artist receiving the Ho Chi Minh Prize for Literature and Art in 2000.
Trần Đình Thọ (1919-2011)
Bamboo
1957 | Lacquer
51.7 x 43.5 cm
Bamboo is a symbol of the Vietnamese countryside and the Vietnamese people. It represents peace, strength, and endurance.
Tran Dinh Tho is considered the most successful painter of bamboo in lacquer. In this painting, the warm yellow leaves of the bamboo stand out on the red background. The clump of bamboo rises from a patch of land in the middle of a flooded field. While the color palette and presentation are similar to the style of traditional lacquer artists, Tran Dinh Tho’s work comes closer to realism. The bamboo is depicted in detail, showing many shades of yellow leaves fluttering in the wind. The land is reflected on the water's surface in shimmering reddish-brown colors. There are no figures in the picture, but with the golden colors and the image of bamboo, this painting evokes the warmth and familiarity of Vietnam's countryside.
Trần Đình Thọ (1919-2011)
Bamboo
1957 | Lacquer
51.7 x 43.5 cm
Bamboo is a symbol of the Vietnamese countryside and the Vietnamese people. It represents peace, strength, and endurance.
Tran Dinh Tho is considered the most successful painter of bamboo in lacquer. In this painting, the warm yellow leaves of the bamboo stand out on the red background. The clump of bamboo rises from a patch of land in the middle of a flooded field. While the color palette and presentation are similar to the style of traditional lacquer artists, Tran Dinh Tho’s work comes closer to realism. The bamboo is depicted in detail, showing many shades of yellow leaves fluttering in the wind. The land is reflected on the water's surface in shimmering reddish-brown colors. There are no figures in the picture, but with the golden colors and the image of bamboo, this painting evokes the warmth and familiarity of Vietnam's countryside.
Nguyễn Cương (1943)
Bach Dang Shipyard Factory
1974 | Lacquer
70.2 x 103 cm
The painter Nguyen Cuong, born in Hai Phong, created this painting in 1974, ten years after the Bach Dang Shipyard Factory was established in his hometown.
The painting celebrates the enthusiastic spirit of groups of workers at the shipyard. Their activity is depicted through gestures and motions. The artist aimed to capture a realistic scene using lacquer. He used a silver lacquer technique to create a glittering metallic white background, setting off the light brown hull, black shadows, and angular shapes. The welding light stands out at the left of the painting. It was created using a gilding technique and provides an interesting focal point next to the browns, silvers, and grays of the surrounding scenery. The two tall ships that occupy nearly three-quarters of the work help evoke a spirit of collaborative industrial work.
Nguyễn Cương (1943)
Bach Dang Shipyard Factory
1974 | Lacquer
70.2 x 103 cm
The painter Nguyen Cuong, born in Hai Phong, created this painting in 1974, ten years after the Bach Dang Shipyard Factory was established in his hometown.
The painting celebrates the enthusiastic spirit of groups of workers at the shipyard. Their activity is depicted through gestures and motions. The artist aimed to capture a realistic scene using lacquer. He used a silver lacquer technique to create a glittering metallic white background, setting off the light brown hull, black shadows, and angular shapes. The welding light stands out at the left of the painting. It was created using a gilding technique and provides an interesting focal point next to the browns, silvers, and grays of the surrounding scenery. The two tall ships that occupy nearly three-quarters of the work help evoke a spirit of collaborative industrial work.
Nguyễn Phúc Lợi (1969)
The Old Gate
1999 | Lacquer
120x120 cm
Nguyen Phuc Loi is a contemporary artist who focused on realism in his lacquer work. His paintings mainly depict simple, old-time scenes from rural villages in the north of Vietnam. The lacquer painting The Old Gate was created in 1999 based on the artist’s sketches and notes about Hien Van Village, Thuan Thanh District, Bac Ninh Province in 1992.
In the painting, a mossy brick doorway covers the steep stone steps. Yellow sunlight illuminates the setting. An elderly woman in Vietnamese traditional dress steps through a small yard. Behind her are a red-brown laterite wall and green trees. For many Vietnamese, this warm vignette evokes memories of home villages, and the houses where grandmothers and mothers wait for their beloved to return after diligently working days.
Nguyễn Phúc Lợi (1969)
The Old Gate
1999 | Lacquer
120x120 cm
Nguyen Phuc Loi is a contemporary artist who focused on realism in his lacquer work. His paintings mainly depict simple, old-time scenes from rural villages in the north of Vietnam. The lacquer painting The Old Gate was created in 1999 based on the artist’s sketches and notes about Hien Van Village, Thuan Thanh District, Bac Ninh Province in 1992.
In the painting, a mossy brick doorway covers the steep stone steps. Yellow sunlight illuminates the setting. An elderly woman in Vietnamese traditional dress steps through a small yard. Behind her are a red-brown laterite wall and green trees. For many Vietnamese, this warm vignette evokes memories of home villages, and the houses where grandmothers and mothers wait for their beloved to return after diligently working days.
Nguyễn Văn Bình (1917-2004)
Nam Na: A Mountain Village
1961 | Lacquer
115.7 x 175.3 cm
Nam Na: A Mountain Village is a lacquer work by artist Nguyen Van Binh. The painting shows a beautiful scene of the Northwest mountainous region of Vietnam. The composition of the painting is well balanced. A distant mountain range is silhouetted against a cloud-covered sky, and in the foreground a typical highland village is set in a verdant landscape. The people in the painting are leading pack horses up and down the trails as they set out for their fields or take their produce to market.
The painter shows his skill in combining a naturalistic scene with a high degree of detail. Using a traditional color scheme, he creates a bright and lifelike palette which shows the contrasts of light and dark as well as depth and perspective. His paintings are refined and bucolic.
Nguyễn Văn Bình (1917-2004)
Nam Na: A Mountain Village
1961 | Lacquer
115.7 x 175.3 cm
Nam Na: A Mountain Village is a lacquer work by artist Nguyen Van Binh. The painting shows a beautiful scene of the Northwest mountainous region of Vietnam. The composition of the painting is well balanced. A distant mountain range is silhouetted against a cloud-covered sky, and in the foreground a typical highland village is set in a verdant landscape. The people in the painting are leading pack horses up and down the trails as they set out for their fields or take their produce to market.
The painter shows his skill in combining a naturalistic scene with a high degree of detail. Using a traditional color scheme, he creates a bright and lifelike palette which shows the contrasts of light and dark as well as depth and perspective. His paintings are refined and bucolic.
Ngọc Linh (1930)
The Spring
2001 | Lacquer
82x107.5 cm
Spring is a favorite subject of many artists, including Ngoc Linh. He has a tradition of starting each new year with a new painting and gathering his family and friends to admire the work. The Spring is a typical example of the paintings he has done depicting the spring season.
On a light yellow background, a flowering peach tree branch fills most of the painting. The branch is decorated with typical ornaments of the Tet Festival, like lucky money envelopes, coins, firecrackers and New Year couplets. The lively and exciting atmosphere of Tết is portrayed through vivid flowing brushstrokes. The yellow, orange, red, green, and light pink colors are harmoniously combined, dappling the painting with a variety of shades.
In the north of Vietnam, people enjoy peach blossoms on the Tet Holiday, not only because of their beauty and vibrancy, but also because of the traditional belief that peach blossoms help ward off evil spirits and attract wealth to the home.
Ngọc Linh (1930)
The Spring
2001 | Lacquer
82x107.5 cm
Spring is a favorite subject of many artists, including Ngoc Linh. He has a tradition of starting each new year with a new painting and gathering his family and friends to admire the work. The Spring is a typical example of the paintings he has done depicting the spring season.
On a light yellow background, a flowering peach tree branch fills most of the painting. The branch is decorated with typical ornaments of the Tet Festival, like lucky money envelopes, coins, firecrackers and New Year couplets. The lively and exciting atmosphere of Tết is portrayed through vivid flowing brushstrokes. The yellow, orange, red, green, and light pink colors are harmoniously combined, dappling the painting with a variety of shades.
In the north of Vietnam, people enjoy peach blossoms on the Tet Holiday, not only because of their beauty and vibrancy, but also because of the traditional belief that peach blossoms help ward off evil spirits and attract wealth to the home.
Lê Vân Hải (1942)
Basking the Sails
2005 | Lacquer
122x240 cm
Artist Le Van Hai was born in Quang Yen in the northeast of Vietnam, the region that is famous for Ha Long Bay and numerous sailing vessels. Le Van Hai does many paintings of the sea; the lacquer work Basking the Sails is one of these. It depicts a peaceful and happy outing of local fishermen’s families.
In this painting, boats and the Ha Long Sea are portrayed in a realistic yet whimsical style. The flat red areas in the composition evoke a sense of open space. The simplicity of the scene showing people’s daily activity contributes to the reality of the work.
All the boats are moored together as if they are touching one another. The towering sails are shaped by large blocks of color, while the reflections on the water are softer patterns. These details show the skillful work of artist Le Van Hai and his mastery of lacquer materials to create different effects. Overall, the work depicts a lively image of Ha Long in a vivid color palette.
Lê Vân Hải (1942)
Basking the Sails
2005 | Lacquer
122x240 cm
Artist Le Van Hai was born in Quang Yen in the northeast of Vietnam, the region that is famous for Ha Long Bay and numerous sailing vessels. Le Van Hai does many paintings of the sea; the lacquer work Basking the Sails is one of these. It depicts a peaceful and happy outing of local fishermen’s families.
In this painting, boats and the Ha Long Sea are portrayed in a realistic yet whimsical style. The flat red areas in the composition evoke a sense of open space. The simplicity of the scene showing people’s daily activity contributes to the reality of the work.
All the boats are moored together as if they are touching one another. The towering sails are shaped by large blocks of color, while the reflections on the water are softer patterns. These details show the skillful work of artist Le Van Hai and his mastery of lacquer materials to create different effects. Overall, the work depicts a lively image of Ha Long in a vivid color palette.
Diệp Quý Hải (1971)
Moonlit Night II
2008 | Lacquer
100x100 cm
Artist Diep Quy Hai has a passion for capturing mystery and spiritual life in his paintings. He usually brings traditional art elements into his work.
Using the abstract language of art, Diep Quy Hai depicts a Moonlit Night II in a familiar yet unusual way. This painting is one in a series of moon pictures that he has created since 2003.
On a dark background that looks like a cloudy sky at night or the shimmering surface of a river, a bright horizontal line divides the scene, resembling a long pole on a small boat. The abstract element in the middle of the painting is made up of patterns and bold shapes. The deep cracks and jagged lines suggest an image of the Long Bien Bridge. The rough color blocks give the impression of old Hanoi. The swirls look like eyes. The arching shapes seem to be doors, the long hair of mysterious figures, or even the crescent moon. All add to the mystery of an enchanting Moonlit Night II by Diep Quy Hai.
Diệp Quý Hải (1971)
Moonlit Night II
2008 | Lacquer
100x100 cm
Artist Diep Quy Hai has a passion for capturing mystery and spiritual life in his paintings. He usually brings traditional art elements into his work.
Using the abstract language of art, Diep Quy Hai depicts a Moonlit Night II in a familiar yet unusual way. This painting is one in a series of moon pictures that he has created since 2003.
On a dark background that looks like a cloudy sky at night or the shimmering surface of a river, a bright horizontal line divides the scene, resembling a long pole on a small boat. The abstract element in the middle of the painting is made up of patterns and bold shapes. The deep cracks and jagged lines suggest an image of the Long Bien Bridge. The rough color blocks give the impression of old Hanoi. The swirls look like eyes. The arching shapes seem to be doors, the long hair of mysterious figures, or even the crescent moon. All add to the mystery of an enchanting Moonlit Night II by Diep Quy Hai.
Trương Bé (1942-2020)
The Flow of Life
2007-2008 | Lacquer
120x160 cm
Artist Truong Be said he can feel himself releasing his soul into the boundless space of the universe. The Flow of Life is one of the paintings in his series of lacquer work on the beauty of the universe.
Using the abstract language of art, the artist shows the infinite complexity of nature through the image of a cosmic net woven by endless patterns. This imagery suggests the movement of life in the flow of infinite space and time
On a brilliant red background, a continuous rhythm is created from dark and light color arrays, yellow dots mixed with white eggshell, and soft red and black intertwined “strings.” The swirling patterns are similar to the decorative style in Dong Son Culture, which creates a sense of levitation in space and evokes the mystery of time.
Trương Bé (1942-2020)
The Flow of Life
2007-2008 | Lacquer
120x160 cm
Artist Truong Be said he can feel himself releasing his soul into the boundless space of the universe. The Flow of Life is one of the paintings in his series of lacquer work on the beauty of the universe.
Using the abstract language of art, the artist shows the infinite complexity of nature through the image of a cosmic net woven by endless patterns. This imagery suggests the movement of life in the flow of infinite space and time
On a brilliant red background, a continuous rhythm is created from dark and light color arrays, yellow dots mixed with white eggshell, and soft red and black intertwined “strings.” The swirling patterns are similar to the decorative style in Dong Son Culture, which creates a sense of levitation in space and evokes the mystery of time.
Trần Văn Đức (1972)
Love Market
2012 | Lacquer
110x150 cm
The Love Market is a special cultural event of the people in the northwest of Vietnam. The market traditionally happens once a year, and is an opportunity for those who want to find love, or have difficulties in love, to gather. Participants share details about their lives and dance and sing throughout the night before returning to their normal lives the next day.
In this painting of the Love Market, artist Tran Van Duc did not use the brilliant colors that are often seen in lacquer. Instead he applied light and romantic colors like white, silver, yellow and moss green to depict the night scene of the Love Market. The blocks of light colors in the middle of the painting are people swaying to the melody of Khen. Their faces tilt different ways and their eyes are closed. The beauty of life in mountainous areas is vividly portrayed through the abstract art and Cubism patterns which highlight the decorations on the costume of the ethnic people.
Trần Văn Đức (1972)
Love Market
2012 | Lacquer
110x150 cm
The Love Market is a special cultural event of the people in the northwest of Vietnam. The market traditionally happens once a year, and is an opportunity for those who want to find love, or have difficulties in love, to gather. Participants share details about their lives and dance and sing throughout the night before returning to their normal lives the next day.
In this painting of the Love Market, artist Tran Van Duc did not use the brilliant colors that are often seen in lacquer. Instead he applied light and romantic colors like white, silver, yellow and moss green to depict the night scene of the Love Market. The blocks of light colors in the middle of the painting are people swaying to the melody of Khen. Their faces tilt different ways and their eyes are closed. The beauty of life in mountainous areas is vividly portrayed through the abstract art and Cubism patterns which highlight the decorations on the costume of the ethnic people.
Nguyễn Đức Nùng (1909-1983)
Dawn on the Farm
1958 | Lacquer
63 x 91.2 cm
This unique painting by Nguyen Duc Nung is done in a style akin to European oil paintings, capturing powerful and brilliant light effects, while showing how the lacquer medium can be used to portray a realistic scene.
In a field we see three farmers hard at work. They are distant from one another, creating depth to the painting. The scene is vibrant and highlights the method and scale of agricultural production at the time. The farmer in the foreground is strong, healthy, and muscular with a sunburned back. He is swinging seeds into the field as dawn breaks on the horizon. To his right is a vast, open field with brilliant gold-colored clouds in the sky.
The picture broadly represents the outlook of landowning farmers who foresee a bright and prosperous future.
Nguyễn Đức Nùng (1909-1983)
Dawn on the Farm
1958 | Lacquer
63 x 91.2 cm
This unique painting by Nguyen Duc Nung is done in a style akin to European oil paintings, capturing powerful and brilliant light effects, while showing how the lacquer medium can be used to portray a realistic scene.
In a field we see three farmers hard at work. They are distant from one another, creating depth to the painting. The scene is vibrant and highlights the method and scale of agricultural production at the time. The farmer in the foreground is strong, healthy, and muscular with a sunburned back. He is swinging seeds into the field as dawn breaks on the horizon. To his right is a vast, open field with brilliant gold-colored clouds in the sky.
The picture broadly represents the outlook of landowning farmers who foresee a bright and prosperous future.
Lê Quốc Lộc (1918-1987)
Keeping the Peace
1960 | Lacquer
70 x 120 cm
The 1960s was a time of tremendous innovation in lacquer painting, a time when artistic color schemes broadened and realism was on full display. This work by Le Quoc Loc titled Keeping the Peace is a particularly notable piece for this period, which inspired others to search for new ways to apply similar techniques and concepts.
The painting depicts a family of Northern coastal fisherfolk gathered at the shoreline near their home at the end of the workday. The fisherman in the foreground is an important figure in the painting. His healthy bare back suggests that he feels confidence and freedom in his life, as well as joy and love for his work. Between him and the other figure is the innocent face of a smiling child, symbolizing happiness and hope for the future.
The name Keeping the Peace conveys the key message of the picture – that in keeping peace, people can truly experience the joys of life, work, and family, as well as the freedom of self and the country.
Lê Quốc Lộc (1918-1987)
Keeping the Peace
1960 | Lacquer
70 x 120 cm
The 1960s was a time of tremendous innovation in lacquer painting, a time when artistic color schemes broadened and realism was on full display. This work by Le Quoc Loc titled Keeping the Peace is a particularly notable piece for this period, which inspired others to search for new ways to apply similar techniques and concepts.
The painting depicts a family of Northern coastal fisherfolk gathered at the shoreline near their home at the end of the workday. The fisherman in the foreground is an important figure in the painting. His healthy bare back suggests that he feels confidence and freedom in his life, as well as joy and love for his work. Between him and the other figure is the innocent face of a smiling child, symbolizing happiness and hope for the future.
The name Keeping the Peace conveys the key message of the picture – that in keeping peace, people can truly experience the joys of life, work, and family, as well as the freedom of self and the country.
Nguyễn Văn Tỵ (1917-1992)
Young Girls and the Sea
1940 | Lacquer
96.5 x 94 cm
This lacquer painting entitled Young Girls and the Sea was created by artist Nguyen Van Ty in 1940, when he was a student at the Indochina College of Fine Arts (1936-1941). With his quest to further develop Vietnamese lacquer art, he and other leading artists, including To Ngoc Van, Nguyen Gia Tri, Tran Van Can, and Nguyen Do Cung studied and successfully diversified the lacquer color palette, adding new shades of white and blue.
In this painting, Nguyen Van Ty uses soft, wavy brushstrokes to depict the delicate grace of three female figures at the water’s edge. Notably, he relies only on the luster of egg-shell white applied to pure black lacquer to create unique and vivid visual effects. The work is a clear example of one of the key features of Vietnamese lacquer painting - the use of eggshell.
Nguyễn Văn Tỵ (1917-1992)
Young Girls and the Sea
1940 | Lacquer
96.5 x 94 cm
This lacquer painting entitled Young Girls and the Sea was created by artist Nguyen Van Ty in 1940, when he was a student at the Indochina College of Fine Arts (1936-1941). With his quest to further develop Vietnamese lacquer art, he and other leading artists, including To Ngoc Van, Nguyen Gia Tri, Tran Van Can, and Nguyen Do Cung studied and successfully diversified the lacquer color palette, adding new shades of white and blue.
In this painting, Nguyen Van Ty uses soft, wavy brushstrokes to depict the delicate grace of three female figures at the water’s edge. Notably, he relies only on the luster of egg-shell white applied to pure black lacquer to create unique and vivid visual effects. The work is a clear example of one of the key features of Vietnamese lacquer painting - the use of eggshell.
Hoàng Tích Chù (1912-2003)
Village Production Team
1958 | Lacquer
76 x 100 cm
The “Village Production Team” was a new form of cooperative labor based on the principle of coordinated work exchange, whereby farmers took turns helping other group members finish their work on time.
Hoang Tich Chu’s 1958 painting is based on his observations and the powerful emotions evoked by the beauty of the people and landscapes of Cao Bang province three years earlier. The painter skillfully integrates the bold landscape with the collective farming labor theme, weaving the social life of the community into the natural surroundings. The gold and silver tones mixed with eggshell whites and blues create a realistic scene, calling up the coolness of wind, water, and mountains, balanced by the warmth of human life.
Hoàng Tích Chù (1912-2003)
Village Production Team
1958 | Lacquer
76 x 100 cm
The “Village Production Team” was a new form of cooperative labor based on the principle of coordinated work exchange, whereby farmers took turns helping other group members finish their work on time.
Hoang Tich Chu’s 1958 painting is based on his observations and the powerful emotions evoked by the beauty of the people and landscapes of Cao Bang province three years earlier. The painter skillfully integrates the bold landscape with the collective farming labor theme, weaving the social life of the community into the natural surroundings. The gold and silver tones mixed with eggshell whites and blues create a realistic scene, calling up the coolness of wind, water, and mountains, balanced by the warmth of human life.
Lê Quốc Lộc (1918-1987)
Nguyễn Văn Quế (1914-?)
Pagoda Festival
1939 | Lacquer
100.5 x 200 cm
This painting consists of four panels depicting a lively festival scene in a rural area of North Vietnam at the beginning of the 20th century.
The two artists use a striking color palette of reds, blacks, and ochres to evoke the bustling atmosphere of a festive day. In this panoramic scene, we see youthful villagers playing traditional country games, young women in their traditional long coats and headdresses, and other festivalgoers wearing Ao dai with fashionable patterns. The panels show an intriguing and realistic portrayal of the cultural transition in Vietnamese society during the 1930s.
With the rhythmic movements of the figures and the array of light and dark shades, the painting vividly captures a joyful atmosphere and the energy of a festival celebration.
Lê Quốc Lộc (1918-1987)
Nguyễn Văn Quế (1914-?)
Pagoda Festival
1939 | Lacquer
100.5 x 200 cm
This painting consists of four panels depicting a lively festival scene in a rural area of North Vietnam at the beginning of the 20th century.
The two artists use a striking color palette of reds, blacks, and ochres to evoke the bustling atmosphere of a festive day. In this panoramic scene, we see youthful villagers playing traditional country games, young women in their traditional long coats and headdresses, and other festivalgoers wearing Ao dai with fashionable patterns. The panels show an intriguing and realistic portrayal of the cultural transition in Vietnamese society during the 1930s.
With the rhythmic movements of the figures and the array of light and dark shades, the painting vividly captures a joyful atmosphere and the energy of a festival celebration.
Đoàn Văn Nguyên (1946)
Off to School to Learn From the Words of Uncle Ho
2000 | Lacquer
100 x 125 cm
This colorful work was produced by Doan Van Nguyen, one of Vietnam’s leading contemporary artists who use the unique Vietnamese medium of lacquer in figure painting. The work of these artists is both rich in beauty and socially meaningful.
The four figures in this painting are readily identifiable as members of Vietnamese ethnic minority communities from the Central Highlands region. In the painting we see a dynamic scene highlighting the value of modern education. The schoolbooks proudly carried by the girls on their daily walk to school reflect the inspiration of the beloved Ho Chi Minh, who is a guiding light for people throughout Vietnam.
The painting’s bright red, white, and golden yellow colors, along with the simple geometrical forms, illustrate the warmth and graceful simplicity of the Vietnamese ethnic minorities. They also show the artist’s attempt to capture the style of the Central Highlands’ people’s own way of making pictures of themselves and the natural world around them.
Đoàn Văn Nguyên (1946)
Off to School to Learn From the Words of Uncle Ho
2000 | Lacquer
100 x 125 cm
This colorful work was produced by Doan Van Nguyen, one of Vietnam’s leading contemporary artists who use the unique Vietnamese medium of lacquer in figure painting. The work of these artists is both rich in beauty and socially meaningful.
The four figures in this painting are readily identifiable as members of Vietnamese ethnic minority communities from the Central Highlands region. In the painting we see a dynamic scene highlighting the value of modern education. The schoolbooks proudly carried by the girls on their daily walk to school reflect the inspiration of the beloved Ho Chi Minh, who is a guiding light for people throughout Vietnam.
The painting’s bright red, white, and golden yellow colors, along with the simple geometrical forms, illustrate the warmth and graceful simplicity of the Vietnamese ethnic minorities. They also show the artist’s attempt to capture the style of the Central Highlands’ people’s own way of making pictures of themselves and the natural world around them.
Nguyễn Đức Nùng (1909-1983)
Spinning and Weaving Silk
1957 | Lacquer
55.8 x 70 cm
Nguyen Duc Nung is a well-known lacquer artist with pieces currently displayed and housed at the Vietnam National Fine Arts Museum, including the lacquer painting Spinning and Weaving Silk. This painting was donated by the artist after receiving the State Prize for Literature and Arts.
In the center of the painting are two ethnic minority women who are attentively spinning and weaving silk. The interior of their house is drawn with black lines on a light-yellow background, capturing the texture of the bamboo walls and columns and the thatched roof. Through the doorway in the distance the mountain landscape is represented with green and blue colors.
Overall, the painting uses simple colors and tight composition. Highlighting this typical scene of the daily activities of women in mountainous areas, the artist reveals his appreciation for the virtues of hard work.
Nguyễn Đức Nùng (1909-1983)
Spinning and Weaving Silk
1957 | Lacquer
55.8 x 70 cm
Nguyen Duc Nung is a well-known lacquer artist with pieces currently displayed and housed at the Vietnam National Fine Arts Museum, including the lacquer painting Spinning and Weaving Silk. This painting was donated by the artist after receiving the State Prize for Literature and Arts.
In the center of the painting are two ethnic minority women who are attentively spinning and weaving silk. The interior of their house is drawn with black lines on a light-yellow background, capturing the texture of the bamboo walls and columns and the thatched roof. Through the doorway in the distance the mountain landscape is represented with green and blue colors.
Overall, the painting uses simple colors and tight composition. Highlighting this typical scene of the daily activities of women in mountainous areas, the artist reveals his appreciation for the virtues of hard work.
Nguyễn Tư Nghiêm (1922-2016)
Gióng
1990 | Lacquer
National Treasure
90 x 120.3 cm
Nguyen Tu Nghiem was a renowned figure in Vietnamese fine art during the second half of the 20th century. As a leader in artistic innovation in Vietnam, he was especially successful in combining traditional art with modern spirit. His lacquer painting Giong has been recognized for its unique artistic value. This piece represents the artist’s peak development in style and technique.
Depicting Saint Giong, one of the "Four Immortals" of Vietnamese folk religion, the painting incorporates both folk art and the modern style of Cubism. Inspired by traditional artwork, the artist used geometric and ancient motifs in his work. The gold, silver, and gray palettes are imposed over an unusual red background, which includes brown and black patches to create depth and highlight the unique form and moving rhythm of Giong.
In 2017, Vietnam recognized this artwork as a National Treasure.
Nguyễn Tư Nghiêm (1922-2016)
Gióng
1990 | Lacquer
National Treasure
90 x 120.3 cm
Nguyen Tu Nghiem was a renowned figure in Vietnamese fine art during the second half of the 20th century. As a leader in artistic innovation in Vietnam, he was especially successful in combining traditional art with modern spirit. His lacquer painting Giong has been recognized for its unique artistic value. This piece represents the artist’s peak development in style and technique.
Depicting Saint Giong, one of the "Four Immortals" of Vietnamese folk religion, the painting incorporates both folk art and the modern style of Cubism. Inspired by traditional artwork, the artist used geometric and ancient motifs in his work. The gold, silver, and gray palettes are imposed over an unusual red background, which includes brown and black patches to create depth and highlight the unique form and moving rhythm of Giong.
In 2017, Vietnam recognized this artwork as a National Treasure.
Công Quốc Hà (1955)
Street II
2001 | Lacquer
50x140 cm
Street II is a typical work of artist Cong Quoc Ha depicting Hanoi’s Old Quarter, where artists are drawn to the distinctive architecture found on the streets, corners, and alleys.
The painting captures the corner of a street during sunset. The simple geometric shapes and strong lines portray the old buildings in a modern artistic style. Gold leaf on the roof tiles, walls, and windows gives the impression of rays from the setting sun. The green of the tree, combined with the black and orange shades and white eggshell, create a sense of harmonious antiquity, representing the vitality of the city and the charm of Hanoi’s people.
Công Quốc Hà (1955)
Street II
2001 | Lacquer
50x140 cm
Street II is a typical work of artist Cong Quoc Ha depicting Hanoi’s Old Quarter, where artists are drawn to the distinctive architecture found on the streets, corners, and alleys.
The painting captures the corner of a street during sunset. The simple geometric shapes and strong lines portray the old buildings in a modern artistic style. Gold leaf on the roof tiles, walls, and windows gives the impression of rays from the setting sun. The green of the tree, combined with the black and orange shades and white eggshell, create a sense of harmonious antiquity, representing the vitality of the city and the charm of Hanoi’s people.
Ngô Thành Nhân (1956)
Tranquility
1993 | Lacquer
90x120 cm
O Quan Chuong is the only gate remaining of the original five entrance gates to the old Thang Long Citadel(*). It is a cultural and historical relic of significant interest and value.
Ngo Thanh Nhan portrays the O Quan Chuong Gate, not in the bustling atmosphere of Hanoi’s Old Quarter during the day, but in the nighttime “Tranquility.”
The composition is simple and tight with few colors, but it incorporates a striking contrast of dark and light shades. The yellow blocks of color pouring through the gate and between the bricks suggest the luminance of moonlight on the dense black background. The subtle shading helps soften the blackness of the brick wall and contributes to the hushed and tranquil aura. The scene is serene, depicting a peaceful and quiet Hanoi at night when trees and clouds are at rest.
*The 5 original entrance gates to the old Thang Long Citadel were O Cau Den, O Dong Mac, O Quan Chuong, O Cau Giay and O Cho Dua.
Ngô Thành Nhân (1956)
Tranquility
1993 | Lacquer
90x120 cm
O Quan Chuong is the only gate remaining of the original five entrance gates to the old Thang Long Citadel(*). It is a cultural and historical relic of significant interest and value.
Ngo Thanh Nhan portrays the O Quan Chuong Gate, not in the bustling atmosphere of Hanoi’s Old Quarter during the day, but in the nighttime “Tranquility.”
The composition is simple and tight with few colors, but it incorporates a striking contrast of dark and light shades. The yellow blocks of color pouring through the gate and between the bricks suggest the luminance of moonlight on the dense black background. The subtle shading helps soften the blackness of the brick wall and contributes to the hushed and tranquil aura. The scene is serene, depicting a peaceful and quiet Hanoi at night when trees and clouds are at rest.
*The 5 original entrance gates to the old Thang Long Citadel were O Cau Den, O Dong Mac, O Quan Chuong, O Cau Giay and O Cho Dua.
Nguyễn Lương Tiểu Bạch (1944-2012)
Daily Work in the Village
1995 | Lacquer
90x180 cm
Daily Work in the Village is typical of the work of famous artist and teacher Nguyen Luong Tieu Bach, who often painted the mountainous regions of Vietnam.
This painting shows the daily life of people in a mountainous village in the north of the country. In the communal yard, villagers gather to winnow and pound rice while chatting happily together. Surrounding them are stilt houses and bamboo groves, and in the background are distant mountains. Both the landscape and figures are portrayed in a realistic style with a distinct separation between the main and secondary scenes of the composition. The red and yellow colors evoke the warmth and joy of village life.
Nguyễn Lương Tiểu Bạch (1944-2012)
Daily Work in the Village
1995 | Lacquer
90x180 cm
Daily Work in the Village is typical of the work of famous artist and teacher Nguyen Luong Tieu Bach, who often painted the mountainous regions of Vietnam.
This painting shows the daily life of people in a mountainous village in the north of the country. In the communal yard, villagers gather to winnow and pound rice while chatting happily together. Surrounding them are stilt houses and bamboo groves, and in the background are distant mountains. Both the landscape and figures are portrayed in a realistic style with a distinct separation between the main and secondary scenes of the composition. The red and yellow colors evoke the warmth and joy of village life.
Nguyễn Khang (1912-1989)
Fishing on a Moonlit Night
1943 | Lacquer
81.8 x 183 cm
This painting is the most well-known work by Nguyen Khang. Created at the peak of his career, the theme is inspired by popular legends.
On the deep black background, two groups of toiling fishermen are pictured with their heavily laden boat and a glowing catch in their net. They are rendered in an affectionately humorous style. The fishermen give off a luminous vitality contrasted by the dramatic black background that frames them. The moonlit sky and dark water accentuate the powerful living presence in this work, full of suggestive but unspoken ideas about the world the artist depicts.
Nguyen Khang is well known for his simple style and shading effects. This diverges from traditional style, but still captures the essence of graphic folk art. In his lacquer paintings, he consistently combines three techniques: grinding, carving and impasto. He also uses gilding. His works are widely recognized and have received many national and international awards.
Nguyễn Khang (1912-1989)
Fishing on a Moonlit Night
1943 | Lacquer
81.8 x 183 cm
This painting is the most well-known work by Nguyen Khang. Created at the peak of his career, the theme is inspired by popular legends.
On the deep black background, two groups of toiling fishermen are pictured with their heavily laden boat and a glowing catch in their net. They are rendered in an affectionately humorous style. The fishermen give off a luminous vitality contrasted by the dramatic black background that frames them. The moonlit sky and dark water accentuate the powerful living presence in this work, full of suggestive but unspoken ideas about the world the artist depicts.
Nguyen Khang is well known for his simple style and shading effects. This diverges from traditional style, but still captures the essence of graphic folk art. In his lacquer paintings, he consistently combines three techniques: grinding, carving and impasto. He also uses gilding. His works are widely recognized and have received many national and international awards.
Nguyễn Trường Linh (1971)
Gam Cau Street
2005 | Lacquer
120x150 cm
Gam Cau Street is a sweeping painting of Long Bien Bridge, a structure that has stood over Hanoi for over one hundred years.
The iron girders of the bridge and their soaring spans stretch high above the Red River. The houses under the bridge are jumbled and distorted. Laborers along the riverbank are working at making a living. The scene is portrayed in deep warm red and shimmering yellow colors. Following traditional lacquer techniques, the artist strives not only to capture Hanoi’s beauty, but also to express his deep emotions through his work.
Born in Hanoi, Nguyen Truong Linh was devoted to preserving and developing Vietnamese traditional lacquer painting.
Nguyễn Trường Linh (1971)
Gam Cau Street
2005 | Lacquer
120x150 cm
Gam Cau Street is a sweeping painting of Long Bien Bridge, a structure that has stood over Hanoi for over one hundred years.
The iron girders of the bridge and their soaring spans stretch high above the Red River. The houses under the bridge are jumbled and distorted. Laborers along the riverbank are working at making a living. The scene is portrayed in deep warm red and shimmering yellow colors. Following traditional lacquer techniques, the artist strives not only to capture Hanoi’s beauty, but also to express his deep emotions through his work.
Born in Hanoi, Nguyen Truong Linh was devoted to preserving and developing Vietnamese traditional lacquer painting.
Lê Huy Hòa (1932-1997)
Still Life
1963 | Lacquer
60 x 40 cm
In this work, the artist has depicted the soft, striking beauty of sunflowers and beach spider lilies in a rough, textured vase. The elegant bamboo bars of the chair and the patterned brocade fabric offer an interesting contrast to the coarse vase. The background is colored in two separate blocks of vermilion and black. Creating a modern composition, the artist has positioned the chair in the middle of the picture and the vase of flowers to the left. This arrangement highlights the contrast between static and dynamic. The artist incorporates Vietnamese decorative elements such as the brocade fabric on the chair seat and a chicken pattern from Dong Ho folk paintings on the flower vase.
Throughout the painting the artist has skillfully developed a balance of harmony and sophistication and mixed traditional and modern styles to create a painting with deep and lasting impact.
Lê Huy Hòa (1932-1997)
Still Life
1963 | Lacquer
60 x 40 cm
In this work, the artist has depicted the soft, striking beauty of sunflowers and beach spider lilies in a rough, textured vase. The elegant bamboo bars of the chair and the patterned brocade fabric offer an interesting contrast to the coarse vase. The background is colored in two separate blocks of vermilion and black. Creating a modern composition, the artist has positioned the chair in the middle of the picture and the vase of flowers to the left. This arrangement highlights the contrast between static and dynamic. The artist incorporates Vietnamese decorative elements such as the brocade fabric on the chair seat and a chicken pattern from Dong Ho folk paintings on the flower vase.
Throughout the painting the artist has skillfully developed a balance of harmony and sophistication and mixed traditional and modern styles to create a painting with deep and lasting impact.
Nguyễn Sỹ Ngọc (1919-1990)
Shift Change
1963 | Lacquer
75 x 100 cm
Shift Change is one of the most excellent works of the socialist realism art period, exploiting the theme of industrial labor, a key theme of that period. To create this painting, artist Nguyen Sy Ngoc spent 6 months of "three togethers" (working together, eating together, living together) with workers at the Cam Pha coal mine in Quang Ninh. It took him 3 years to complete it.
This picture has a compact and bold composition, showing a group of miners waiting for a shift change. Using only the basic colors of lacquer (bright red, black, gold, and silver) the artist creates a variety of typical clothing. The golden light on the mountainside, in the sky, and on the figures’ shoulders and backs suggests the early sunshine of a new work day. Nguyen Sy Ngoc explores contrasts in light and dark as well as static and motion, and his rendering is very sharp.
The artist’s work vividly shows the life of workers in the coal mines during the transition between the night shift and the normal day shift.
Nguyễn Sỹ Ngọc (1919-1990)
Shift Change
1963 | Lacquer
75 x 100 cm
Shift Change is one of the most excellent works of the socialist realism art period, exploiting the theme of industrial labor, a key theme of that period. To create this painting, artist Nguyen Sy Ngoc spent 6 months of "three togethers" (working together, eating together, living together) with workers at the Cam Pha coal mine in Quang Ninh. It took him 3 years to complete it.
This picture has a compact and bold composition, showing a group of miners waiting for a shift change. Using only the basic colors of lacquer (bright red, black, gold, and silver) the artist creates a variety of typical clothing. The golden light on the mountainside, in the sky, and on the figures’ shoulders and backs suggests the early sunshine of a new work day. Nguyen Sy Ngoc explores contrasts in light and dark as well as static and motion, and his rendering is very sharp.
The artist’s work vividly shows the life of workers in the coal mines during the transition between the night shift and the normal day shift.
Huỳnh Văn Gấm (1922-1987)
Miss Lien
1962 | Lacquer
65.2 x 44.7 cm
This picture shows the image of a girl seated next to a window and looking directly toward the viewer. The girl's face is round and youthful. Her simple long hair is tied back and drapes across the front of her dress. Dressed in a traditional Ao dai, she represents a typical Vietnamese woman, full of gentleness, femininity, patience, and depth. Ms. Lien, who is illuminated by the bright yellow light behind her, exudes solemnity and elegance.
The portrait of Ms. Lien by Huynh Van Gam incorporates both realism and a bold Eastern aesthetic style. When it appeared, the painting was one of the few portraits that achieved realism in lacquer. The painting was created in the early 1960s, when peace was temporarily established in the North. Through the artist’s luminous portrayal of Ms. Lien, viewers can feel the artist's nostalgia for his home in the South, where his dear mother, wife, an older sister and a younger sister were living.
Huỳnh Văn Gấm (1922-1987)
Miss Lien
1962 | Lacquer
65.2 x 44.7 cm
This picture shows the image of a girl seated next to a window and looking directly toward the viewer. The girl's face is round and youthful. Her simple long hair is tied back and drapes across the front of her dress. Dressed in a traditional Ao dai, she represents a typical Vietnamese woman, full of gentleness, femininity, patience, and depth. Ms. Lien, who is illuminated by the bright yellow light behind her, exudes solemnity and elegance.
The portrait of Ms. Lien by Huynh Van Gam incorporates both realism and a bold Eastern aesthetic style. When it appeared, the painting was one of the few portraits that achieved realism in lacquer. The painting was created in the early 1960s, when peace was temporarily established in the North. Through the artist’s luminous portrayal of Ms. Lien, viewers can feel the artist's nostalgia for his home in the South, where his dear mother, wife, an older sister and a younger sister were living.
Nguyễn Tư Nghiêm (1922-2016)
Sword Lake in Spring
1957 | Lacquer
70.3 x 150.5 cm
In this piece, artist Nguyen Tu Nghiem recreates a scene of people welcoming in the new year at Sword Lake, a long-standing cultural tradition of Hanoians. On a crimson background, under a canopy of golden foliage, a crowd of people in beautiful costumes eagerly wait.
Like other painters between 1955 and 1960, Nguyen Tu Nghiem experimented with the use of paintbrushes in lacquer, creating different effects with great success. The movement of the crowd, captured by using layered elements and figures in motion, suggests a spirit of jubilant celebration. The light and dark areas show depth and energy.
With the unique techniques of lacquer painting, the artist creates the bustling, vibrant celebration at Sword Lake during the festive season of Tet.
Nguyễn Tư Nghiêm (1922-2016)
Sword Lake in Spring
1957 | Lacquer
70.3 x 150.5 cm
In this piece, artist Nguyen Tu Nghiem recreates a scene of people welcoming in the new year at Sword Lake, a long-standing cultural tradition of Hanoians. On a crimson background, under a canopy of golden foliage, a crowd of people in beautiful costumes eagerly wait.
Like other painters between 1955 and 1960, Nguyen Tu Nghiem experimented with the use of paintbrushes in lacquer, creating different effects with great success. The movement of the crowd, captured by using layered elements and figures in motion, suggests a spirit of jubilant celebration. The light and dark areas show depth and energy.
With the unique techniques of lacquer painting, the artist creates the bustling, vibrant celebration at Sword Lake during the festive season of Tet.
Nguyễn Tư Nghiêm (1922-2016)
Children Playing
1972 | Lacquer
60 x 89.8 cm
In Children Playing, artist Nguyen Tu Nghiem uses traditional colors and a grinding technique, which involves sanding each layer of lacquer and then reapplying it. Around this time, many Vietnamese painters started exploring these new techniques in lacquer painting.
This work shows modern figures painted on a crimson background. The style is Cubist, with renderings heavily influenced by elements of Vietnamese folk art. The painting depicts a group of children gathered in a circle playing games. In the middle, a boy holds a bright yellow star light.
Children Playing represents idyllic happiness and freedom. The viewer is drawn in by the innocence of the children and the hope that they represent. This is one of Nguyen Tu Nghiem’s most beloved works of art.
Nguyễn Tư Nghiêm (1922-2016)
Children Playing
1972 | Lacquer
60 x 89.8 cm
In Children Playing, artist Nguyen Tu Nghiem uses traditional colors and a grinding technique, which involves sanding each layer of lacquer and then reapplying it. Around this time, many Vietnamese painters started exploring these new techniques in lacquer painting.
This work shows modern figures painted on a crimson background. The style is Cubist, with renderings heavily influenced by elements of Vietnamese folk art. The painting depicts a group of children gathered in a circle playing games. In the middle, a boy holds a bright yellow star light.
Children Playing represents idyllic happiness and freedom. The viewer is drawn in by the innocence of the children and the hope that they represent. This is one of Nguyen Tu Nghiem’s most beloved works of art.
Trần Văn Cẩn (1910-1994)
Knitting
1959-1961 | Lacquer
74.8 x 100.2 cm
Knitting features a group of women gathered to knit clothes for themselves and their relatives – a common pastime of women in this time period.
The artist uses lacquer in warm colors to show a peaceful scene in the city during autumn. The figures are clustered in small groups and wear long dresses and short blouses. They are gently leaning in toward one another, sharing an intimate moment. The scene is divided between the porch and garden. Images of pigeons, chickens, and cats add to the peaceful domestic atmosphere. The artist’s use of eggshells affixed to the painting is visible in this work. The eggshell adds texture to the wall and cement tiles.
Tran Van Can is recognized as a skilled lacquer artist, whose painting Knitting stands alongside other classical works of Vietnamese lacquer paintings.
Trần Văn Cẩn (1910-1994)
Knitting
1959-1961 | Lacquer
74.8 x 100.2 cm
Knitting features a group of women gathered to knit clothes for themselves and their relatives – a common pastime of women in this time period.
The artist uses lacquer in warm colors to show a peaceful scene in the city during autumn. The figures are clustered in small groups and wear long dresses and short blouses. They are gently leaning in toward one another, sharing an intimate moment. The scene is divided between the porch and garden. Images of pigeons, chickens, and cats add to the peaceful domestic atmosphere. The artist’s use of eggshells affixed to the painting is visible in this work. The eggshell adds texture to the wall and cement tiles.
Tran Van Can is recognized as a skilled lacquer artist, whose painting Knitting stands alongside other classical works of Vietnamese lacquer paintings.
Nguyễn Thành Chương (1949)
Summer Afternoon
2008 | Lacquer
120x180 cm
Summer Afternoon is a painting in Nguyen Thanh Chuong’s series on buffalo and children. In Vietnam, water buffalo are commonly associated with farmers, and children form strong bonds with the animals. This work depicts the artist's childhood memories of being born and raised in a farming village.
Nguyen Thanh Chuong fell in love with Cubism. The more works he created, the more his style became simplified, condensed, and refined. Using strokes and arrays and bolds and lights with varied layouts and patterns, Thanh Chuong’s style made a unique mark in lacquer painting. The color palette in his lacquer paintings is distinctly vibrant because of his use of strong, contrasting colors. Thanh Chuong is a successful contemporary artist who uses stories from ordinary daily life to create his own brand of art.
Nguyễn Thành Chương (1949)
Summer Afternoon
2008 | Lacquer
120x180 cm
Summer Afternoon is a painting in Nguyen Thanh Chuong’s series on buffalo and children. In Vietnam, water buffalo are commonly associated with farmers, and children form strong bonds with the animals. This work depicts the artist's childhood memories of being born and raised in a farming village.
Nguyen Thanh Chuong fell in love with Cubism. The more works he created, the more his style became simplified, condensed, and refined. Using strokes and arrays and bolds and lights with varied layouts and patterns, Thanh Chuong’s style made a unique mark in lacquer painting. The color palette in his lacquer paintings is distinctly vibrant because of his use of strong, contrasting colors. Thanh Chuong is a successful contemporary artist who uses stories from ordinary daily life to create his own brand of art.
Trịnh Tuân (1961)
Men and Women
2009 | Lacquer
110 x110 cm
Trinh Tuan is another lacquer artist whose paintings incorporate traditional lacquer techniques with contemporary features.
Men and Women, composed in 2009, is a work celebrating the simple beauty of Vietnamese men and women. With floral motifs and lotus leaves on a background of grays and browns, combined with delicately rendered figures, the painting evokes a natural simplicity. In this piece, Trinh Tuan aims to reflect the pristine beauty of humanity.
In the painting, the artist subtly combines layered images and textures with different variations and accents. The overall effect is a unified work with diverse elements, bringing pleasant surprises to the viewers.
Trịnh Tuân (1961)
Men and Women
2009 | Lacquer
110 x110 cm
Trinh Tuan is another lacquer artist whose paintings incorporate traditional lacquer techniques with contemporary features.
Men and Women, composed in 2009, is a work celebrating the simple beauty of Vietnamese men and women. With floral motifs and lotus leaves on a background of grays and browns, combined with delicately rendered figures, the painting evokes a natural simplicity. In this piece, Trinh Tuan aims to reflect the pristine beauty of humanity.
In the painting, the artist subtly combines layered images and textures with different variations and accents. The overall effect is a unified work with diverse elements, bringing pleasant surprises to the viewers.
Đào Minh Tri (1950)
Following the Flow of Time
1995 | Lacquer
83 x 131 cm
Dao Minh Tri has hundreds of paintings with a central theme involving fish. For him, "The fish has the same meaning as a person”. Thus, the fish symbol always appears in his mind quite vividly and meaningfully.
In 1995, artist Dao Minh Tri created Following the Flow of Time. During this period, Dao Minh Tri was at his most creative. In this work, the fish are painted within six different spaces. They are styled and personified to reflect the artist's emotions. According to the artist, fish is the source of life and happiness and help define the relationship between people and nature, and individuals and each other. With simple elements, strong lines and an understanding of materials, Dao Minh Tri has created the visual impression of space and time moving through the piece.
Đào Minh Tri (1950)
Following the Flow of Time
1995 | Lacquer
83 x 131 cm
Dao Minh Tri has hundreds of paintings with a central theme involving fish. For him, "The fish has the same meaning as a person”. Thus, the fish symbol always appears in his mind quite vividly and meaningfully.
In 1995, artist Dao Minh Tri created Following the Flow of Time. During this period, Dao Minh Tri was at his most creative. In this work, the fish are painted within six different spaces. They are styled and personified to reflect the artist's emotions. According to the artist, fish is the source of life and happiness and help define the relationship between people and nature, and individuals and each other. With simple elements, strong lines and an understanding of materials, Dao Minh Tri has created the visual impression of space and time moving through the piece.
Nguyễn Đình Tuyên (1968)
One Day in Phù Lãng Villagee
1998 | Lacquer
91.5 x 82 cm
Nguyen Dinh Tuyen's lacquer painting is tranquil and inviting. Incorporating sophisticated technical elements, the artist pushes the traditional drawing style in a contemporary direction.
One Day in Phu Lang Village, created by the artist in 1998, is a notable example of the use of the traditional color palette in lacquer art. Using colors such as red, yellow, and brown, the artist depicts a broad area of Phu Lang village by the river. With dark red shades, the artist captures typical images of the Vietnamese countryside.
The warm color palette, the human activity, and the surrounding landscape of the Phu Lang pottery village in Bac Ninh province all blend in a harmonious way to bring a sense of peace to the viewers.
Nguyễn Đình Tuyên (1968)
One Day in Phù Lãng Villagee
1998 | Lacquer
91.5 x 82 cm
Nguyen Dinh Tuyen's lacquer painting is tranquil and inviting. Incorporating sophisticated technical elements, the artist pushes the traditional drawing style in a contemporary direction.
One Day in Phu Lang Village, created by the artist in 1998, is a notable example of the use of the traditional color palette in lacquer art. Using colors such as red, yellow, and brown, the artist depicts a broad area of Phu Lang village by the river. With dark red shades, the artist captures typical images of the Vietnamese countryside.
The warm color palette, the human activity, and the surrounding landscape of the Phu Lang pottery village in Bac Ninh province all blend in a harmonious way to bring a sense of peace to the viewers.
Đinh Quân (1964)
Dance of the Earth
2000 | Lacquer
120x150 cm
Dinh Quan is a famous Vietnamese lacquer painter from the Doi Moi period (after 1986). He was one of the pioneers who sought an alternative, rich inner expression of traditional materials.
Dance of the Earth is a work by Dinh Quan, composed in the style of abstract-expressionism. The artist uses imagery of a woman to express his conception of the rhythm of life – suggesting that the earth is like a mother, bringing life and nourishment to all species. Through the series of images, he tries to convey that the cycle of the four seasons creates a repeating circle, like the dance of life.
This unique work of art, which highlights the visual energy of abstract expression, draws viewers in to reflect on the artist’s emotions and convictions.
Đinh Quân (1964)
Dance of the Earth
2000 | Lacquer
120x150 cm
Dinh Quan is a famous Vietnamese lacquer painter from the Doi Moi period (after 1986). He was one of the pioneers who sought an alternative, rich inner expression of traditional materials.
Dance of the Earth is a work by Dinh Quan, composed in the style of abstract-expressionism. The artist uses imagery of a woman to express his conception of the rhythm of life – suggesting that the earth is like a mother, bringing life and nourishment to all species. Through the series of images, he tries to convey that the cycle of the four seasons creates a repeating circle, like the dance of life.
This unique work of art, which highlights the visual energy of abstract expression, draws viewers in to reflect on the artist’s emotions and convictions.
Nguyễn Tiến Chung (1914-1976)
Threshing
1972 | Lacquer
50.2 x 201.4 cm
Nguyen Tien Chung painted extensively on the subject of the Northern countryside. This work Threshing (1972) depicts a harmonious communal country scene in brown-yellow colors.
In the picture, a crowd of industrious laborers surround a large mound of yellow ripe rice, portraying the busy, urgent, and bustling working atmosphere of Union members. In a lively and realistic scene, people are carrying and threshing rice. The facial expressions of the figures are cheerful. Nguyen Tien Chung uses rich detail – a full harvest of rice, a union yard full of workers, a tiled-roof house – to capture the spirit of excitement and hope brought on by the new harvest season.
Nguyễn Tiến Chung (1914-1976)
Threshing
1972 | Lacquer
50.2 x 201.4 cm
Nguyen Tien Chung painted extensively on the subject of the Northern countryside. This work Threshing (1972) depicts a harmonious communal country scene in brown-yellow colors.
In the picture, a crowd of industrious laborers surround a large mound of yellow ripe rice, portraying the busy, urgent, and bustling working atmosphere of Union members. In a lively and realistic scene, people are carrying and threshing rice. The facial expressions of the figures are cheerful. Nguyen Tien Chung uses rich detail – a full harvest of rice, a union yard full of workers, a tiled-roof house – to capture the spirit of excitement and hope brought on by the new harvest season.
Nguyễn Văn Tỵ (1917-1992)
Traditional House of Vietnamese Peasant
1958 | Lacquer
66.7 x 100.3 cm
This painting is a typical work of artist Nguyen Van Ty, who uses lacquer materials for realistic artistic expression.
In addition to the two basic colors of black and brown, the painter seamlessly combines traditional vermillion with silver and gold leaf, creating different shades of red ranging from dark to warm. He also uses greens on the red background, contributing to the natural composition and making the scenery look realistic.
Every tree and leaf is carefully drawn in different layers of color, creating spatial depth and the effect of light filtering through the branches. The artist’s distinctive style of using shapes and colors captures the peasants’ happiness and excitement after a rich harvest.
The lacquer painting Traditional House of Vietnamese Peasant portrays a peaceful rural landscape in the North Delta region of Vietnam reflecting the bond between the artist and his country.
Nguyễn Văn Tỵ (1917-1992)
Traditional House of Vietnamese Peasant
1958 | Lacquer
66.7 x 100.3 cm
This painting is a typical work of artist Nguyen Van Ty, who uses lacquer materials for realistic artistic expression.
In addition to the two basic colors of black and brown, the painter seamlessly combines traditional vermillion with silver and gold leaf, creating different shades of red ranging from dark to warm. He also uses greens on the red background, contributing to the natural composition and making the scenery look realistic.
Every tree and leaf is carefully drawn in different layers of color, creating spatial depth and the effect of light filtering through the branches. The artist’s distinctive style of using shapes and colors captures the peasants’ happiness and excitement after a rich harvest.
The lacquer painting Traditional House of Vietnamese Peasant portrays a peaceful rural landscape in the North Delta region of Vietnam reflecting the bond between the artist and his country.
Nguyễn Thế Vinh (1926-1997)
Sa Huynh Sea
1986 | Lacquer
60.3 x 80 cm
Artist Nguyen The Vinh painted Sa Huynh Sea (Quang Ngai Province) to show the love he had for his hometown.
In this painting, the sea is calm. The water harmoniously blends into the horizontal line of the horizon. The peaceful scene is bathed in the golden sunlight of the afternoon. On the sea, boats are floating with figures in different positions. In the foreground fishermen are finishing their work. Surrounding them are anchored boats. In the distance, others are headed to the open waters to go fishing.
The simple brushstrokes in this painting are typical of the style of painter Nguyen The Vinh. Using a simple palette, he carefully creates transitions from bright to dark and from light yellow to gray blue. The peaceful scene of the sea is vividly depicted, reflecting the life of fishermen in coastal villages in Vietnam.
Nguyễn Thế Vinh (1926-1997)
Sa Huynh Sea
1986 | Lacquer
60.3 x 80 cm
Artist Nguyen The Vinh painted Sa Huynh Sea (Quang Ngai Province) to show the love he had for his hometown.
In this painting, the sea is calm. The water harmoniously blends into the horizontal line of the horizon. The peaceful scene is bathed in the golden sunlight of the afternoon. On the sea, boats are floating with figures in different positions. In the foreground fishermen are finishing their work. Surrounding them are anchored boats. In the distance, others are headed to the open waters to go fishing.
The simple brushstrokes in this painting are typical of the style of painter Nguyen The Vinh. Using a simple palette, he carefully creates transitions from bright to dark and from light yellow to gray blue. The peaceful scene of the sea is vividly depicted, reflecting the life of fishermen in coastal villages in Vietnam.
Đỗ Thị Ninh (1947)
A Village by the Dike
1993 | Lacquer
56 x 91.3 cm
The lacquer painting titled A Village by the Dike depicts the landscape of a village on the riverbank in the North Delta region of Vietnam.
On the dike, three women are carrying rice. Their hurried motion is depicted through the tilt of their white conical hats. At the foot of the dike sit red-roof houses, gold straw stacks, and blue green trees. These elements are carefully rendered, but are simple and elegant. The colors and the activity give the impression of joy and liveliness. The river in the distance creates a wide background in the painting, evoking a broad and open space. Its tranquility and vastness also contrast with the animated village life by the dike painted in strong and vivid brushstrokes.
Artist Do Thị Ninh has a distinctive artistic style. She has mastered a variety of mediums, including oil on canvas, lacquer, and silk. The backdrop in her work is imaginary, while the scene and figures are realistic. The work, which conveys vibrancy and emotion, incorporates robust shapes and elements of both traditional and modern painting.
Đỗ Thị Ninh (1947)
A Village by the Dike
1993 | Lacquer
56 x 91.3 cm
The lacquer painting titled A Village by the Dike depicts the landscape of a village on the riverbank in the North Delta region of Vietnam.
On the dike, three women are carrying rice. Their hurried motion is depicted through the tilt of their white conical hats. At the foot of the dike sit red-roof houses, gold straw stacks, and blue green trees. These elements are carefully rendered, but are simple and elegant. The colors and the activity give the impression of joy and liveliness. The river in the distance creates a wide background in the painting, evoking a broad and open space. Its tranquility and vastness also contrast with the animated village life by the dike painted in strong and vivid brushstrokes.
Artist Do Thị Ninh has a distinctive artistic style. She has mastered a variety of mediums, including oil on canvas, lacquer, and silk. The backdrop in her work is imaginary, while the scene and figures are realistic. The work, which conveys vibrancy and emotion, incorporates robust shapes and elements of both traditional and modern painting.
Nguyễn Kim Đồng (1922-2009)
Kindergarten
1993 | Lacquer
43x95 cm
Landscapes and mountain life are common themes in the works of painter Nguyen Kim Dong. Specializing in lacquer, Nguyen Kim Dong typically used coherent structure and bold shapes in his work.
Kindergarten (1993, lacquer) depicts a scene of a kindergarten classroom in Mai Chau, Hoa Binh. On a traditional symbolic crimson background, children sit in an orderly row in a modern composition. The artist did not attempt to incorporate much depth in the scene by using dark and light shading on the block figures. The figures are all similar and are dressed in the same style of Thai and Muong ethnic costumes. The boys have short hair and the girls have long hair or are wearing a head scarf. The contrasting array of light and dark colors, and form and density, are carefully arranged by the artist.
The painting’s warm colors of vermilion, yellow, puce and white patches of eggshell represent a peaceful and full life.
Nguyễn Kim Đồng (1922-2009)
Kindergarten
1993 | Lacquer
43x95 cm
Landscapes and mountain life are common themes in the works of painter Nguyen Kim Dong. Specializing in lacquer, Nguyen Kim Dong typically used coherent structure and bold shapes in his work.
Kindergarten (1993, lacquer) depicts a scene of a kindergarten classroom in Mai Chau, Hoa Binh. On a traditional symbolic crimson background, children sit in an orderly row in a modern composition. The artist did not attempt to incorporate much depth in the scene by using dark and light shading on the block figures. The figures are all similar and are dressed in the same style of Thai and Muong ethnic costumes. The boys have short hair and the girls have long hair or are wearing a head scarf. The contrasting array of light and dark colors, and form and density, are carefully arranged by the artist.
The painting’s warm colors of vermilion, yellow, puce and white patches of eggshell represent a peaceful and full life.
Dương Bích Liên (1924-1988)
Uncle Ho at the Viet Bac War Zone
1980 | Lacquer
National Treasure
99.8 x 180 cm
This is an important piece by artist Duong Bich Lien depicting President Ho Chi Minh.
The work has a spacious, modern composition. The mountains, forest, sky, and vegetation are developed in two swaths of rich color that divide the picture. The lower half, with its warm yellow colors, is reminiscent of a stream during the rainy season. This section merges naturally with the upper half of the painting done in green, which depicts a cloud band and sky behind the hill. The piece presents a majestic mountainous view of Viet Bac.
In the painting, a yellow image of Uncle Ho stands out, with a dark mountain behind him. The pale yellow sky opens above the figure, drawing one’s attention toward him and suggesting a bright future. Using skilled techniques, the artist blends earth and people in a natural setting. The rich landscape with delicate details highlights the modesty, warmth, and greatness of President Ho Chi Minh.
In 2017, Vietnam recognized this piece as a National Treasure.
Dương Bích Liên (1924-1988)
Uncle Ho at the Viet Bac War Zone
1980 | Lacquer
National Treasure
99.8 x 180 cm
This is an important piece by artist Duong Bich Lien depicting President Ho Chi Minh.
The work has a spacious, modern composition. The mountains, forest, sky, and vegetation are developed in two swaths of rich color that divide the picture. The lower half, with its warm yellow colors, is reminiscent of a stream during the rainy season. This section merges naturally with the upper half of the painting done in green, which depicts a cloud band and sky behind the hill. The piece presents a majestic mountainous view of Viet Bac.
In the painting, a yellow image of Uncle Ho stands out, with a dark mountain behind him. The pale yellow sky opens above the figure, drawing one’s attention toward him and suggesting a bright future. Using skilled techniques, the artist blends earth and people in a natural setting. The rich landscape with delicate details highlights the modesty, warmth, and greatness of President Ho Chi Minh.
In 2017, Vietnam recognized this piece as a National Treasure.
Hoàng Trầm (1928)
Flowers and Fruit
1994 | Lacquer
89x118.5 cm
Hoang Tram lives in Ho Chi Minh City. He has had a successful career in both teaching and art.
Hoang Tram created the work Flowers and Fruit in a romantic, realistic style. The painting features a palette of warm colors, including yellow, vermilion, and puce. In the center of the picture a mother and daughter sleep peacefully in a hammock amidst trees and flowers. The mother looks serenely happy as she protects her child. Delicate flowers and fruit surround the figures. A natural and dreamy atmosphere is projected in the work.
A master of the lacquer medium, artist Hoang Tram not only created many beautiful works but also trained many generations of artists in the creative use of this material.
Hoàng Trầm (1928)
Flowers and Fruit
1994 | Lacquer
89x118.5 cm
Hoang Tram lives in Ho Chi Minh City. He has had a successful career in both teaching and art.
Hoang Tram created the work Flowers and Fruit in a romantic, realistic style. The painting features a palette of warm colors, including yellow, vermilion, and puce. In the center of the picture a mother and daughter sleep peacefully in a hammock amidst trees and flowers. The mother looks serenely happy as she protects her child. Delicate flowers and fruit surround the figures. A natural and dreamy atmosphere is projected in the work.
A master of the lacquer medium, artist Hoang Tram not only created many beautiful works but also trained many generations of artists in the creative use of this material.
Nguyễn Quốc Hội (1960-2005)
My Daughter and the String of Wildflowers
2003 | Lacquer
122x67.2 cm
Children, a favorite subject of many artists, often appear in works by painter Nguyen Quoc Hoi, who was inspired by his own son and daughter. The solitude and melancholy of the figure placed in the middle of the space is typical of the works of painter Nguyen Quoc Hoi.
In the painting My Daughter and the String of Wildflowers, Nguyen Quoc Hoi painted his second daughter at 13, full of innocence and just entering adolescence. On the flat crimson background, the graceful figure stands out. Her delicate features and small hands evoke gentle beauty. Her concerned expression seems to highlight the youth and immaturity of a girl at this stage of life.
Nguyễn Quốc Hội (1960-2005)
My Daughter and the String of Wildflowers
2003 | Lacquer
122x67.2 cm
Children, a favorite subject of many artists, often appear in works by painter Nguyen Quoc Hoi, who was inspired by his own son and daughter. The solitude and melancholy of the figure placed in the middle of the space is typical of the works of painter Nguyen Quoc Hoi.
In the painting My Daughter and the String of Wildflowers, Nguyen Quoc Hoi painted his second daughter at 13, full of innocence and just entering adolescence. On the flat crimson background, the graceful figure stands out. Her delicate features and small hands evoke gentle beauty. Her concerned expression seems to highlight the youth and immaturity of a girl at this stage of life.
Lưu Thị Kim Oanh (1953-2005)
Joy
2000 | Lacquer
122x122 cm
Painter Luu Thi Kim Oanh graduated from Vietnam University of Fine Arts in 1980. She works with many materials - wood, silk, engraved paint, lacquer – and focuses on many different themes. Luu Thi Kim Oanh’s artistic journey was not long, but it was recognized by a number of distinguished awards.
Joy (2000, lacquer) depicts the typical daily life of a family in the highlands. They carry firewood on their backs. The children have objects in their hands and are next to familiar farm animals such as chickens and buffalo. The artist uses an expressionist style, blending shapes and colors. She uses a deep shade of vermilion and lighter gold colors and eggshells to create the shadowy appearance of the group of figures in the mountains. Through the layered colors, the figures seem to be moving, evoking joy. Their lives are simple and in harmony with nature.
Lưu Thị Kim Oanh (1953-2005)
Joy
2000 | Lacquer
122x122 cm
Painter Luu Thi Kim Oanh graduated from Vietnam University of Fine Arts in 1980. She works with many materials - wood, silk, engraved paint, lacquer – and focuses on many different themes. Luu Thi Kim Oanh’s artistic journey was not long, but it was recognized by a number of distinguished awards.
Joy (2000, lacquer) depicts the typical daily life of a family in the highlands. They carry firewood on their backs. The children have objects in their hands and are next to familiar farm animals such as chickens and buffalo. The artist uses an expressionist style, blending shapes and colors. She uses a deep shade of vermilion and lighter gold colors and eggshells to create the shadowy appearance of the group of figures in the mountains. Through the layered colors, the figures seem to be moving, evoking joy. Their lives are simple and in harmony with nature.
Lê Quảng Hà (1963)
Workshop
2000 | Lacquer
80x200 cm
Le Quang Ha is a painter who expresses strong individuality in contemporary Vietnamese Fine Arts. In the 1990s he completed many works in the Expressionist style, a genre characterized by distortion and fantasy. He gradually turned to Pop Art and Surrealism in the 2000s.
Regardless of the style of painting, Le Quang Ha’s works always bring out the complex conflicts of social life. Although he favors oil painting on canvas because it allows him to express himself quickly, boldly, and diversely, in Workshop he uses lacquer, taking advantage of the unique medium and different materials. The large metal machine incorporates texture, geometric blocks, and complex links. In contrast to the heavy machinery, the solitary figure seems somber and contemplative, perhaps reflecting on the simplicity of life before industrialization.
Lê Quảng Hà (1963)
Workshop
2000 | Lacquer
80x200 cm
Le Quang Ha is a painter who expresses strong individuality in contemporary Vietnamese Fine Arts. In the 1990s he completed many works in the Expressionist style, a genre characterized by distortion and fantasy. He gradually turned to Pop Art and Surrealism in the 2000s.
Regardless of the style of painting, Le Quang Ha’s works always bring out the complex conflicts of social life. Although he favors oil painting on canvas because it allows him to express himself quickly, boldly, and diversely, in Workshop he uses lacquer, taking advantage of the unique medium and different materials. The large metal machine incorporates texture, geometric blocks, and complex links. In contrast to the heavy machinery, the solitary figure seems somber and contemplative, perhaps reflecting on the simplicity of life before industrialization.