More than 2,500 years ago, during the time of Hùng Vương and Đông Sơn culture, our people knew how to use resin extracted from Rhus Succedanea.
The paint used in lacquer is this resin – from a type of tree that grows abundantly in the Northern midlands, most abundantly in Phú Thọ, so it is also called “sơn ta”, “sơn Phú Thọ”.
Since ancient times, traditional lacquer has been used as a material in handicrafts and decoration.
Ancient cultural works, “vermilion and gold” still remain today. Vietnamese lacquer handicrafts are loved and admired by domestic and international markets because of their unique national character.
Some stages of the process of creating lacquer material used in painting
In 1932, artists and artisans at Indochina Fine Arts College researched and studied how to mix lacquer and invented new techniques used in painting, making lacquer an “academic medium”. From here, a unique “Modern Lacquer Painting” was created, helping Vietnamese Lacquer Art have its own identity and spread to the world.
In the historical stream of lacquer painting of the nation are some prominent artists such as Trần Quang Trân, Trần Văn Cẩn, Phạm Hậu, Nguyễn Gia Trí, Nguyễn Tiến Chung, Hoàng Tích Chù, Nguyễn Văn Tỵ, Nguyễn Khang… They have contributed landmark research, experimented with lacquer techniques in their creations, bringing the young Vietnamese fine arts to a new level.
Artist Nguyễn Khang and lecturers researching ancient sculpture to make teaching materials
In particular, artist Nguyễn Khang has made contributions in terms of painting and engraving techniques, using bare gold; the visual language is taken from ancient folklore, so it is imbued with “indigenous tradition”.
Artist Nguyễn Khang was born on December 5, 1911 in Hà Nội. He studied in the class VI of Indochina Fine Arts College with Trần Văn Hà, Nguyễn Văn Anh…
Portrait of artist Nguyễn Khang (1911 – 1989)
From 1932-1934, he made important contributions to the beginning of lacquer painting, especially with the improvement of color quality and the use of engravings on the surface to create a unique creative style.
In 1935, artist Nguyễn Khang graduated from Indochina Fine Arts College. Only two years after graduating, in 1937, artist Nguyễn Khang and lacquer artisan Đinh Văn Thành were honored to be chosen to France to attend the Paris Exhibition – where all the best of the world converged.
During the 10 years from 1935 to 1945, his lacquer works were highly appreciated and won awards domestically such as SADEAI, Salon Unique and abroad such as France, the US, Belgium, Italy…
In 1940, Nguyễn Khang, along with Tô Ngọc Vân, Trần Văn Cẩn and Lương Xuân Nhị, were the founding members of the An Nam Art Association.
In 1949, he was elected Principal of the Resistance Fine Arts School in Inter-Zone X.
From 1962 to 1974, he held the position of Principal of Việt Nam Fine Arts College.
With his great contributions to the development of Vietnamese fine arts, in 2000, he was honored to be posthumously awarded Hồ Chí Minh Prize for Literature and Arts by the State.
During his creative career of more than 5 decades, he left behind valuable works such as:
+ “The scholar returns with glory” created in 1942;
+ “Fishing at night under the moonlight”, “Golden tree and silver tree” created in 1942-1943;
+ “The buffalo boy’s family”; “Peace and friendship” created in 1958;
+ “Marching through the stream” created in 1962…
In which, the work “The scholar returns in glory” currently in the collection of Việt Nam Fine Arts Museum, is a highlight marking the achievements of artist Nguyễn Khang in lacquer painting, both in terms of material technique and visual style.
45 years after creating “The scholar returns with glory”, in 1988, artist Nguyễn Khang created a major lacquer painting in both size and theme titled “Return with glory”.
Nguyễn Khang (1911 – 1989). “Return with glory”. 1988. Lacquer. 90 × 260 cm
With a length of 260 cm and a width of 90 cm, the surface area is ideal for Nguyễn Khang to freely research and depict figures. More than 50 characters representing different ages and occupations are vividly portrayed using Western classical academic techniques… but imbued with the folk character of Vietnamese people.
In addition to meticulous and in-depth research on ancient costumes and objects, the artist also included history, festival culture, and folk customs in his work. In his paintings, Nguyễn Khang has built an ancient Vietnamese society, with a symbolic image of the homeland. From mountains, rivers, banyan trees, waterfront, fields, to the ocean…
Every detail in the work, from the landscape to people, is joyful and happy when their wishes come true – A solemn ceremony to honor their ancestors, filled with joy in every image.
And then when looking at the work, the viewer seems to see himself as a character in that procession; his mind is filled with emotions as if he were living in the old time of the enlightened kings and talents in the country.
With just one painting “Return with glory”, artist Nguyễn Khang has expressed the mind of an entire nation.
With just one painting, the viewer feels like he sees the whole homeland, sees the will and spiritual strength of Việt Nam; sees the country in peace and prosperity, feels his heart filled with warmth and love.
“Return with glory” is the last special work of artist Nguyễn Khang. On November 15, 1989, the heart of the great artist stopped beating, leaving Vietnamese fine arts a vast silence…
Written by Viet Art View
Copyrights belong to Viet Art View
