A local craftswoman in Bối Khê village gives a final check to lacquerware for export. VNS Photo Đoàn Tùng

Lương Thu Hương

Like many other northern villages in Việt Nam, Bối Khê on the outskirts of Hà Nội retains its rustic charm and tranquillity. However, the villagers, instead of being busy working on the fields, are seen working in their houses to create lacquerware items that have provided them with a sustainable source of income for generations.

Bối Khê is regarded as one of the cradles of Vietnamese lacquerware. The craft originated in the village about 400 years ago, producing exquisite religious items for altars and temples, such as gilded lacquer panels, decorative couplets and Buddha statues. The lacquer works of the village are renowned for their vibrant colours that withstand the test of time.

In the context of the market economy, local artisans have proactively adopted some modern techniques and diversified their products to meet the evolving tastes of consumers. They continue to use traditional lacquer while creating more attractive domestic utensils and decorative items, including bowls, plates, vases, trays, lacquer paintings and inlaid artworks. Most of Bối Khê's lacquerware products nowadays are exported to countries such as the US, Australia and China.

The craft provides Bối Khê villagers with stable income. — VNS Photo Đoàn Tùng

“The 1960s and 1970s are regarded as a prosperous period for the village due to the high demand for exports to Eastern Europe. Some artisans from Hà Nội settled in the village and established the Trường Sơn lacquerware cooperative, focusing on lacquerware for export,” recalled Đinh Văn Năm, former chairman of the cooperative.

“We shifted entirely to producing lacquerware with inlaid mother-of-pearl, with the main export market being the Soviet Union.”

The traditional craft experienced a temporary halt when the main importers of Bối Khê’s products, namely the Soviet Union and Eastern Europe, dissolved in the early 1990s. However, from 1996, this craft was revived and has been continuously developing since then.

According to local artisan Đinh Anh Vỹ, who has pursued the craft for nearly 40 years, lacquer products in the village are classified into three main kinds – altar items, decorative domestic items and lacquer artworks.

“Among those three, the most common type of Bối Khê lacquerware is decorative products. This type uses seashells and eggshells, combined with a specialised adhesive to bond them, going through several stages to create products used in hotels and for export,” he said.

To create a beautiful lacquer product, the craftsmen must go through various working stages, from selecting materials for inlaying shells to attaching and lacquering them, and more.

“Each stage is important, requiring the artisans to be meticulous, skilled and dedicated to achieve the final result,” Vỹ said.

Eggshells are attached to a lacquer product. — VNA/VNS Photo Trần Việt

To increase productivity and output, many machines have replaced human labour, such as sanding machines, gas kilns and rolling machines. The use of machinery nowadays accounts for 70 per cent of the production process.

The craft is demanding, but it has generated a sustainable and high income for villagers in recent years. Nearly all 650 households in Bối Khê are now engaged in this craft, with an average monthly income of about VNĐ10 million (US$435) per person.

Bối Khê lacquer articles have the advantage of being well-suited to the consumption needs of many countries in the world, offering high stability and diversity. Therefore, they are favoured in many strict markets.

“Bối Khê's products have been exported to 60 countries, with the largest markets being Europe and the US,” Vỹ said.

Bối Khê's products have been exported to 60 countries, with the largest markets being Europe and the US. VNA/VNS Photo Trần Việt

According to him, the international market demands strict regulations: materials must have clear origins and certifications, and products must be free of chemical residues.

He revealed the secret to secure a solid footing in the strict market.

"Once a week, the workshops meet with partners to discuss orders, product designs, colours, and market trends. There’s no big secret to it; we just strive to learn and seek feedback from our customers," Vỹ said.

“With the stable income from the craft, the village has developed and local residents have enjoyed a more prosperous life, building new houses.”

Traditional lacquer art

Master artisan Đinh Văn Tải works on a lacquer painting. VNS Photo Đoàn Tùng

While most Bối Khê villagers have used some kinds of machines during the production process, some, like 67-year-old Đinh Văn Tải, are still diligently pursuing traditional methods to create lacquer paintings.

His artworks are mainly inspired by the rural landscapes in northern Việt Nam and particularly, lotus that is considered the national flower.

“Traditional lacquerware is very difficult to make, as the entire working process is done manually, from designing to applying up to 10 layers of lacquer,” Tải said.

“For a painting named The Thầy Pagoda Festival, for example, I have to work for 20 days. This technique depends heavily on the weather and requires a stable temperature of around 30 degrees Celsius."

According to the master artisan, lacquer is a challenging material, yet it is fascinating due to the surprising elements that emerge during the creative process.

To dry a lacquer painting, it must be kept in a windless, high-humidity environment, and to reveal the image, one must wash and polish it away first. After several layers of lacquering and polishing, the image gradually appears with hidden colours.

Interestingly, each lacquer artwork is unique; even the artist cannot create a second, similar version of the painting.

Some lacquer paintings by Đinh Văn Tải. VNS Photo Đoàn Tùng

Due to the intricate and unique materials and methods involved, lacquer art is a distinctive technique of Việt Nam, contributing to a cultural identity that embodies the spirit of the nation.

“Traditional lacquerware has three difficulties: it is hard to make, hard to appreciate, and hard to purchase due to its high price," he noted.

“However, it is precisely these challenges that create the invaluable worth of our artistic works.” VNS