Lacquerware in Vietnam: Historical Origins and Development

Lacquer is one of the special materials in Vietnamese art. Not only used for painting, lacquer is also used to create many other handicraft products such as horizontal lacquered boards, parallel sentences, household items, Buddha statues, etc. To make a lacquer product, it must go through extremely complicated and elaborate stages. Along with the development of society, the number of people following the lacquer profession is not much today, and the craft villages are also gradually decreasing. With Tranh Son Lac Nghe Thuat, discover the beauty of traditional culture of the nation, admire the masterpieces of lacquer art left by our ancestors through famous lacquer craft villages in Vietnam.

Historical Origins

In Vietnam, the first traces of this material were excavated hundreds of years ago BC. During the Dinh Dynasty (930-950), Vietnamese people knew how to use lacquer tree sap to paint boats. Through the Le, Ly, and Tran dynasties, many antiques, wooden statues, or clay statues painted with red and gold were still preserved.

It was not until the reign of King Le Nhan Tong (1443-1460) that Tran Thuong Cong was honored as the first master of this profession. His students established guilds of craftsmen and spread out everywhere, and skilled craftsmen were accepted by the royal court to decorate the interior of the palace. Currently, Hue is considered the place where traces and works of lacquer are preserved in the largest and most complete scale.

Vietnamese lacquer

Lacquerware in Vietnam

Development

Famous lacquer craft villages in Vietnam that are still operating include: Ha Thai lacquer craft village (Hanoi), Cat Dang lacquer craft village (Nam Dinh), Tuong Binh Hiep lacquer craft village (Binh Duong), and Boi Khe lacquer craft village (Hanoi). Tuong Binh Hiep is the cradle of the Southern lacquer art industry, while Ha Thai and Boi Khe are famous in the North, and Cat Dang is also a craft village with a long history of products serving religion and consumption.
Below is detailed information about these craft villages:

  1. Ha Thai lacquer craft village (Hanoi):
    Located in Duyen Thai commune, Thuong Tin district, this craft village has a history of hundreds of years and mainly produces artistic lacquer paintings to serve domestic and foreign needs.
  2. Cat Dang lacquer craft village (Nam Dinh):
    This craft village has a history of more than 600 years, famous for products such as thrones, chairs, palanquins, statues, worship paintings, decorations, and household items.
  3. Tuong Binh Hiep Lacquer Craft Village (Binh Duong):
    This is the cradle of the lacquer art industry in Binh Duong and the South, with a history of more than 200 years, famous for its diversity in designs and product quality. This craft village has been recognized as a national intangible cultural heritage.
  4.  Boi Khe Lacquer Craft Village (Hanoi):
    Located in Boi Khe commune, Thanh Oai district, this is one of the oldest and most famous lacquer craft villages in the country, prioritized for development in association with tourism.

Techniques and Materials

Creating Vietnamese lacquerware is a labor-intensive process that demands patience, precision, and months of work. The core material is natural lacquer (sơn ta), harvested from the Rhus succedanea tree in northern provinces like Phu Tho. This toxic resin, similar to rubber sap, is refined and mixed with pigments from minerals, plants, and soil to produce colors like red (cinnabar for luck), black (iron oxides for power), yellow (ochre), green, and brown (stability).

  • The process begins with preparing a base from wood (e.g., jackfruit), bamboo, MDF, or synthetic fibers, shaped and coated with glue for protection. Multiple layers—up to 10-20—of lacquer are applied, each dried in a humid environment and sanded for smoothness. Techniques include:
    Hom and Lót (Base Layers): Mixing lacquer with stone powder, earth, sawdust, and fabric to prevent cracks, followed by smoothing.
  • Inlays: Embedding eggshells, mother-of-pearl, crab shells, or gold/silver leaf for texture and shimmer.
  • Coloring and Polishing: Applying colored lacquer, then wet-sanding with sandpaper, charcoal, and human hair to reveal layers and achieve depth.
  • Carving and Engraving: For carved lacquer, building thick layers (at least 5mm) for deep patterns, emphasizing form and light.
  • Final Buffing: Polishing for a glossy or matte finish, ensuring durability against water and heat.

This multi-layered approach allows for improvisation, as sanding can reveal unexpected effects, distinguishing Vietnamese lacquer from Japanese or Chinese styles

Vietnamese lacquerware is more than a craft—it’s a living testament to the nation’s history, creativity, and adaptability. From ancient tombs to contemporary galleries, it continues to captivate with its beauty and depth, inviting the world to appreciate Vietnam’s artistic heritage. Whether as a souvenir or a masterpiece, sơn mài embodies the enduring spirit of Vietnamese artistry.