МАТЕРИАЛЬНЫЕ ВЫРАЖЕНИЯ И ТЕХНИКИ ОБРАБОТКИ ПОВЕРХНОСТИ В ВЬЕТНАМСКОЙ ЛАКОВОЙ ЖИВОПИСИ

УДК 336.76

Abstract

Vietnamese lacquer engraving painting is a distinctive form of visual art within modern Vietnamese fine arts, developed through the combination of traditional lacquer techniques and engraving methods applied to the material surface. Beyond its aesthetic value, lacquer engraving painting also demonstrates a complex technical process involving multiple stages, including panel preparation, lacquer coating, engraving, polishing, and surface treatment.This article focuses on studying the fundamental techniques of expression in Vietnamese lacquer engraving painting, including material characteristics, production processes, line engraving techniques, color treatment, and the tactile effects of surface texture. At the same time, the study analyzes the relationship between technique and visual expression, thereby clarifying the role of technique in shaping the distinctive artistic language of lacquer engraving painting.Through methods of analysis and synthesis of documents combined with surveys of several representative artworks, the article contributes to systematizing the technical elements of Vietnamese lacquer engraving painting, while also proposing directions for preserving and promoting the value of traditional techniques in contemporary artistic creation and fine arts education.

Аннотация

Вьетнамская лаковая гравюра — это особая форма изобразительного искусства в современном вьетнамском изобразительном искусстве, разработанная за счет сочетания традиционных техник лака и методов гравировки, наносимых на поверхность материала. Помимо своей эстетической ценности, лаковая гравюра также представляет собой сложный технический процесс, включающий несколько этапов, включая подготовку панели, покрытие лаком, гравировку, полировку и обработку поверхности. Эта статья посвящена изучению фундаментальных техник выражения во вьетнамской лаковой гравюре, включая характеристики материала, производственные процессы, методы гравировки линий, обработку цвета и тактильные эффекты текстуры поверхности. В то же время в исследовании анализируется взаимосвязь между техникой и изобразительной выразительностью, тем самым проясняется роль техники в формировании самобытного художественного языка лаковой гравюры. С помощью методов анализа и синтеза документов в сочетании с обзором нескольких репрезентативных произведений искусства статья способствует систематизации технических элементов вьетнамской лаковой гравюрной живописи, а также отражает направления по сохранению и пропаганде ценности традиционных художественных техник в современном художественном творчестве и изобразительном образовании.

Keywords: lacquer engraving painting, expressive techniques, traditional lacquer, visual arts

Ключевые слова: лаковая гравюра живопись, выразительные приемы, традиционный лак, изобразительное искусство

Introduction

In the development of modern Vietnamese fine arts, lacquer art has always held a distinctive position due to its ability to combine traditional craftsmanship with modern visual thinking. Alongside lacquer painting, which has been widely studied and recognized, lacquer engraving painting also represents an artistic approach that has made significant contributions to the language of Vietnamese visual arts. Through the combination of multilayer lacquer coating techniques and direct engraving methods on the artwork’s surface, lacquer engraving painting creates distinctive visual effects through lines, textures, and material depth. This is not only a technical method of expression but also a determining factor in the aesthetic value and expressive capacity of the artwork.

Lacquer engraving painting was developed on the foundation of inheriting traditional Vietnamese lacquer techniques while simultaneously absorbing modern visual thinking throughout the development of twentieth-century Vietnamese fine arts. This art form employs relatively complex processes such as panel preparation, lacquer coating, color layering, line engraving, polishing, and surface treatment in order to create distinctive visual effects. Unlike painting methods that apply color directly onto the surface, lacquer engraving painting exploits the effects of layered materials combined with engraving techniques to construct artistic imagery. The process of applying multiple layers onto the surface creates tonal gradation, spatial depth, and the unique tactile quality of the artwork.

In artistic practice, expressive techniques play an especially important role in lacquer engraving painting. Each technical stage is not only a method of material treatment but also directly influences the visual effect and artistic expressiveness of the work. Engraved lines, variations in the depth of incisions, methods of color-layer treatment, and polishing techniques all contribute to the visual rhythm and aesthetic characteristics of the artwork. Therefore, studying the expressive techniques of lacquer engraving painting not only helps identify the distinctive features of this art form but also clarifies the relationship between technique and visual language in modern Vietnamese fine arts.

However, current studies on lacquer engraving painting mainly focus on aesthetic values or historical development, while in-depth research on expressive techniques remains relatively limited. Some traditional techniques are at risk of disappearing due to changes in materials and contemporary creative practices. This situation highlights the need to systematize and analyze the fundamental techniques of lacquer engraving painting in order to contribute to the preservation and promotion of the artistic value of this art form in current creative activities and fine arts education.

Based on these issues, this article focuses on studying the expressive techniques of Vietnamese lacquer engraving painting through an analysis of production processes, material characteristics, and surface-treatment methods employed during artistic creation. On that basis, the study clarifies the role of technique in shaping the visual effects and artistic value of lacquer engraving painting, while also contributing theoretical and practical foundations for the research, teaching, and preservation of traditional Vietnamese lacquer art.

Materials and methods

This study employs a qualitative research approach to investigate the expressive capabilities and artistic values of Vietnamese lacquer engraving painting through the examination of its materials, techniques, and visual language.

The research materials consist of two primary sources. The first source includes academic publications, books, exhibition catalogues, journal articles, and previous studies related to Vietnamese lacquer art, lacquer engraving techniques, and traditional lacquer craftsmanship. These materials provide the theoretical foundation for understanding the historical development, technical characteristics, and aesthetic principles of lacquer engraving painting.

The second source comprises a selection of representative Vietnamese lacquer engraving artworks produced by artists from different periods. The selected works were chosen based on their relevance to the study objectives, technical diversity, and significance within the development of Vietnamese lacquer engraving painting. These artworks serve as visual evidence for analyzing engraving methods, color application, surface treatment, and expressive effects.

A systematic review of literature was conducted to identify and synthesize existing knowledge regarding the origins, technical processes, material properties, and artistic characteristics of Vietnamese lacquer engraving painting. Through comparative analysis of historical and contemporary sources, the study establishes a conceptual framework for understanding the relationship between technique and artistic expression. Representative artworks were examined through visual analysis focusing on compositional structure, engraved line quality, color treatment, texture formation, and surface effects. Particular attention was given to the interaction between technical procedures and expressive outcomes. Technical features observed in the artworks were interpreted in relation to traditional lacquer production methods and artistic intentions. A comparative approach was employed to identify similarities and differences among artworks from different artists and periods. This method facilitates the recognition of recurring technical characteristics as well as individual artistic innovations, thereby highlighting the evolution of lacquer engraving techniques and their expressive potential.

Results and discussion

Overview of Vietnamese lacquer engraving painting

Lacquer engraving painting is a distinctive art form that combines traditional lacquer techniques with direct engraving methods on the artwork’s surface. Unlike conventional lacquer painting, which emphasizes layered colors, polishing effects, and material depth, lacquer engraving painting highlights engraved lines, textures, and compositional structures. These engraved elements function not only as visual features but also as expressive devices that create rhythm and artistic impact.

Technically, the artwork is produced on a lacquer-coated wooden panel prepared with multiple layers of lacquer and pigments. Artists then use engraving tools to carve images or decorative motifs into the surface. The process is often combined with polishing techniques that reveal underlying color layers, generating tonal variation and spatial depth. Through this integration of engraving and lacquer treatment, the medium has developed a unique visual language within Vietnamese fine arts.

Figure 1. Xuan dat Viet by artist Dang Tin Tuong

The origins of lacquer engraving painting are closely linked to the evolution of modern Vietnamese art in the early twentieth century. Rooted in traditional lacquer craftsmanship used in lacquerware, religious objects, and architectural decoration, the medium gained new artistic significance following the establishment of the Indochina College of Fine Arts in 1925. The encounter between traditional techniques and modern artistic thinking encouraged experimentation and the emergence of new forms of expression.

Throughout its development, lacquer engraving painting has been valued for its decorative qualities, expressive lines, and material richness. Artists have explored diverse themes, including landscapes, daily life, human figures, and folk culture. Although less widely recognized than lacquer painting, it remains an important artistic medium that reflects the successful integration of traditional craftsmanship and modern visual aesthetics in Vietnamese fine arts.

Panel preparation techniques

Traditional panel preparation techniques

The lacquer panel (vóc sơn mài) is a technical term referring to the wooden core structure such as jars, boxes, trays, wooden boards, and other supports—that has undergone a specialized preparation process to create a smooth lacquer surface “as polished as horn,” enabling craftsmen, artisans, and painters to work on it using lacquer material. There are three traditional methods of preparing lacquer panels: plain panels (vóc chay), panels coated with clay-based lacquer mixture (vóc hom đất thó), and panels coated with alluvial-soil lacquer mixture (vóc hom đất phù sa).At every stage of the process, sanding and polishing are required; however, these operations are not merely intended to smooth the lacquer surface but also to prepare it for subsequent procedures such as hom - coating ( applying a mixture of raw lacquer and alluvial soil rub evenly onto the wooden board to create smoothness),lót - undercoating ( a layer of raw lacquer is applied onto the hom-coated wooden surface), thí - finishing lacquer application (brushing refined lacquer over the entire surface followed by wet sanding),.. Sanding and polishing at this stage represent the completion of the lacquer panel itself. The process demands carefulness, meticulous attention, and sensitivity from the practitioner. Materials used for sanding include fine green stone and small abrasive sand particles. During sanding, the stone surface and the lacquer panel must remain in even contact before proceeding to the polishing stage. A properly prepared lacquer panel possesses high durability and the ability to withstand climatic changes without warping, cracking, splitting, termite damage, or peeling. Its surface can achieve a glossiness “like a mirror.” The polishing process is carried out only in horizontal and vertical motions, creating a visual impression of “spatial depth” within the finished product. According to experienced artisans, the production of a lacquer panel following traditional standards may require up to thirty - six stages.

The panel used in lacquer engraving painting is fundamentally similar to that of lacquer painting, though certain modifications are made to the proportions of soil, raw lacquer, and surface treatment. These adjustments result in a flat, glossy black surface with the deep visual quality characteristic of polished black lacquer layers. Painter Pham Duc Cuong summarized the process in The Techniques of Lacquer Craftsmanship (1960) as follows: Filling and repairing uneven areas of the wood surface; Covering the surface with fabric or paper; Applying a soil–lacquer coating layer followed by sanding with abrasive stone; Applying a raw lacquer undercoat; Applying two finishing lacquer layers; Applying gloss lacquer and polishing. The lacquer layer may appear in black, red, brown, yellow, green, beige, or other colors.

The main difference between the panel preparation for lacquer engraving painting and that for incised lacquer painting lies in the stage of applying the soil–lacquer coating layer. In lacquer engraving painting, the lacquer ground must be thicker and relatively softer to facilitate carving and engraving with knives. Therefore, the proportion of soil in the lacquer mixture must be increased slightly, following the approximate formula: 45% lacquer and 55% soaked soil. Finely sifted dry sawdust is then added in sufficient quantity until the mixture becomes thick and no longer adheres to the mixing blade. Two coating layers may be applied in order to create a sufficiently thick lacquer ground, allowing deeper engraved lines. According to Pham Duc Cuong, if the lacquer proportion is too high compared to the soil content, the surface becomes excessively hard, causing interruptions during carving and dulling the engraving tools quickly. Conversely, if the soil content is too high, the engraved surface tends to peel, crack, or even cause the outer lacquer layers to detach. In areas containing fine and delicate motifs, thin engraved lines may easily chip or break during carving, damaging the entire decorative composition [6, pp. 104-106].  For lacquer artworks, the traditional panel core was primarily made of wood throughout the early stages of development. Over time, new types of panel cores were introduced, including metal, laminated bamboo, bamboo strips, ceramics, and composite materials. However, experimentation and creative exploration using these improved panel structures in lacquer engraving painting have remained relatively limited.

Lacquer engraving panel techniques using composite materials have not been widely practiced, since composite surfaces already provide flatness and structural qualities comparable to fabric-covered plywood panels. Therefore, when creating lacquer engraving artworks on composite panels, the process should begin directly from the hom layer.

After that, the conventional procedures for preparing lacquer engraving panels are carried out starting from the hom stage.

• Hom application (two coating layers) – drying – sanding the hom surface smooth: For the hom layer used in lacquer engraving panels, the proportions of lacquer and soil generally follow traditional panel-making techniques. However, in order to ensure stronger adhesion between the hom layer, the composite core surface, and the lacquer coating above, a higher proportion of lacquer should be mixed with the alluvial soil. This adjustment helps prevent the soil–lacquer layer from becoming brittle during engraving while also improving the bonding strength between the lacquer layer and the composite surface.
• Lót - undercoating (two layers) – drying – sanding the undercoated surface.
• Thí - finishing lacquer (sơn then, two layers) – drying – sanding the finishing lacquer surface.
• The surface of the lacquer ground is coated with a mixture of Xoan charcoal powder and hair fibers.
• Polishing the engraved lacquer surface to enhance smoothness and gloss.
• Chu powder is coated onto the lacquer ground to enhance the smoothness and gloss of the surface.
• Final polishing to create a glossy surface effect.

The engraving process is carried out in the same manner as on traditional lacquer engraving panels. Engraving the artwork: Careful consideration must be given to the relationship between lines, shapes, retained forms, and engraved areas. This stage can be regarded as a second creative process as well-executed engraved lines placed appropriately can produce greater aesthetic effects. For lacquer engraving panels using composite cores, the engraving process generally does not affect the quality of the panel or the engraving procedure itself. However, it is important not to engrave too deeply into the composite core, as this may prevent the applied colors from achieving the intended visual effect (this issue is similar to traditional panels, where excessively deep engraving may reach the wooden core, thereby affecting the panel quality through moisture absorption and structural deterioration and so on).

When applying lacquer engraving techniques on composite-core panels, the process is fundamentally similar to working on traditional panels. Various engraving techniques can be executed effectively, including thick lines, fine lines, rough textures, large compositional areas, scratched surfaces that partially retain black lacquer layers, and different masking engraving effects. These techniques produce visual results comparable to those achieved on traditional lacquer panels.

The use of improved panel structures has actively contributed to artistic innovation. In lacquer art and lacquer engraving painting, both traditional Vietnamese art forms, composite materials have introduced new and diverse aesthetic possibilities. At present, composite materials are widely used in applied art products available on the market. Many art companies, workshops, and traditional craft villages have replaced traditional panel structures with composite-core materials in products such as trays, boxes, vases, albums, and so on. The use of composite materials, together with production technologies that allow standardized mold-making and large-scale manufacturing, offers advantages over traditional materials, particularly as natural wood resources,... become increasingly scarce. The superior qualities of composite panel materials in the production of lacquer artworks and applied art products have created favorable conditions for lacquer art to become more accessible and integrated into contemporary daily life.

Conclusion

Vietnamese lacquer engraving painting is a distinctive form of visual art within the development of modern Vietnamese fine arts. Through the combination of traditional lacquer techniques and engraving methods applied directly onto the artwork’s surface, lacquer engraving painting not only demonstrates the value of traditional craftsmanship but also establishes a highly expressive artistic language. Processes such as panel preparation, lacquer coating, line engraving, polishing, and surface treatment contribute to the formation of distinctive aesthetic effects through line, color, texture, and spatial depth.

The research demonstrates that expressive techniques play a decisive role in shaping the artistic value of lacquer engraving painting. Each technical operation functions not only as a method of material treatment but also directly influences the artwork’s visual construction and emotional expressiveness. In particular, engraving techniques combined with the effects of traditional Vietnamese lacquer create unique visual rhythms, surface textures, and expressive qualities that are difficult to achieve in many other forms of painting. Beyond its visual and aesthetic significance, lacquer engraving painting also reflects the preservation and development of traditional artistic values within the context of modern fine arts. This art form represents the intersection between traditional craftsmanship and contemporary creative thinking, thereby enriching the visual language of Vietnamese art.

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