Returning to his hometown of Đường Lâm Village (in Hà Nội’s Sơn Tây Township), artist-craftsman Nguyễn Tấn Phát has dedicated himself to revitalising traditional lacquer art. The rich culture of the Sơn Tây region continues to nourish his soul, fuelling his creativity and inspiring unique, folk-culture-infused artworks. Locals affectionately call him the "lacquer wizard" for his exceptional craftsmanship. Uông Ngọc and Quỳnh Hoa report.

Nguyễn Tấn Phát has dedicated himself to revitalising traditional lacquer art as a tribute to his roots. — Photos anninhthudo.vn

Inner Sanctum: You have recently completed the Thạch Ong Gấm Xà (Lacquered Laterite Snake) collection to welcome the Year of the Snake. Could you introduce this?

The snake -- one of the 12 animals of the Eastern zodiac -- symbolises not only agility and intelligence but also prosperity, longevity, and balance in folk culture. My Thạch Ong Gấm Xà collection consists of 45 sculptures depicting coiled snakes rising high, representing vitality and the spirit of a new era for Việt Nam. The snake motif has been modernised, elegantly entwined around laterite stone, a material deeply embedded in Vietnamese cultural heritage.

This collection celebrates both natural beauty and the artistry of traditional craftsmanship. The intricate gold, red, black, and brown lacquer details symbolise prosperity and good fortune. The meticulously painted snake scales mimic the fluidity of life itself, evoking adaptability and flexibility.

Laterite, known for its solid structure and warm material, serves as a robust foundation, echoing the resilience of the Vietnamese people. Snake sculptures can be challenging to market due to common fears associated with the animal. To address this, I have stylised the design with geometric elements, making the figures more approachable and suitable for modern interiors.

A great combination of laterite stone (the source of tradition) and the snake image (a symbol of creativity and innovation).

Inner Sanctum: You plan to have your lacquerware showcased at an exhibition in Paris. Could you share more about this?

Lacquer is one of Việt Nam’s most distinctive art forms, developed from traditional sơn ta (natural lacquer) into a refined craft. Beyond lacquer itself, the art requires a specialised adhesive formula passed down through generations.

My dedication to Vietnamese authenticity is reflected in my choice of materials, such as eggshell, coconut shell, laterite, and jackfruit wood, all of which add unique character to my works. The more meticulous the material selection and craftsmanship, the greater the artistic and cultural value of the final piece.

In addition to aesthetic appeal, I integrate narratives of Vietnamese culture into my work. Each piece is not merely an art object but a vessel carrying the soul of Việt Nam.

Recently, some of my lacquer sculptures were selected by the Ministry of Culture, Sports, and Tourism for an exhibition in Paris, France, showcasing contemporary Vietnamese lacquer art on an international stage. I hope to gain more opportunities to bring Sơn Tây lacquerware to global audiences, promoting both the craft and Vietnamese culture.

Inner Sanctum: Why did you choose to return to your hometown to develop traditional crafts?

I studied and built my career in Hà Nội, but my heart always longed for my hometown. First, I wanted to give back to the land that nurtured me, shaping my artistic vision. Second, I believe in redistributing creative resources. Hà Nội is a hub of skilled professionals, but rural areas, including Sơn Tây, lack traditional craft villages. The handicraft sector is underdeveloped. I wanted to use my skills to establish a new craft industry and contribute to my community.

Much of my success stems from the tranquillity of village life. Here, I find peace and depth necessary to reflect on ideas and focus on my work. The slower pace allows me to fully immerse myself in my art, channelling my thoughts into each creation.

Thạch Ong Gấm Xà (Lacquered Laterite Snake) collection consists of 45 sculptures depicting coiled snakes rising high, representing vitality and the spirit of a new era for Việt Nam.

Inner Sanctum: How can buyers better understand the intricate process behind lacquer art and appreciate its true value?

Lacquer art is not just about selling a product, it is about elevating it into an artistic experience. Each piece should convey a story through written descriptions, spoken narratives, and visual documentation of its creation. This helps buyers connect with the product on a deeper level, understanding the skill and passion embedded in each work.

Inner Sanctum: You have been offering free lacquer painting classes. What insights have you gained from younger generations and visitors?

I have been teaching free lacquer classes for more than a decade. Being in a tourist area has allowed me to engage with many visitors and young locals eager to learn. It brings me great joy to preserve a traditional craft and inspire the younger generation. Some students, even those pursuing different career paths, have found renewed motivation through this art form.

Inner Sanctum: Every traditional craft must evolve with modern influences. How do your works balance cultural heritage and contemporary aesthetics?

One of my guiding principles is constant innovation. My goal is to create unique, original works rather than follow conventional patterns. I do not chase profits; my focus is on cultural and artistic values. Some of my pieces are created solely for donation or community service, yet they have significantly helped spread awareness of lacquer art.

I believe that valuable creations should come not only from individual artists but also from skilled artisans in traditional villages. Beyond fostering creativity and aesthetic refinement, handcrafted works should embody humanistic values, bringing joy and positive inspiration to people’s lives.

Inner Sanctum: You have expressed a desire to bring Vietnamese lacquerware to the international stage. What does this mean beyond simply exporting products?

I want Vietnamese lacquer art to gain greater global recognition. While Vietnamese lacquerware has already made an impression on the international market, it needs further expansion to solidify its place.

My goal is not just for people to recognise Vietnamese lacquer products, but to see them as a reflection of Vietnamese culture. I want international audiences to view these pieces and instantly connect them to Việt Nam’s rich heritage, envisioning the stories of our land and people. VNS