Nguyen Tan Phat, 40, has pursued professional lacquer painting for years thanks to his 22-year career with experiences learned from skilled craftsmen in Hanoi's Old Quarter and artisan villages in the capital city.

He has consistently adhered to traditional craftsmanship and his works always convey important messages to the community.

Every year, he creates huge collections of lacquer sculptures according to the zodiac animal of the year, such as 1,010 buffalo statues; 2,022 tiger statues; 2,023 cat statues; and 1,000 dragon-fairy statues.

He has made a series of straw handicrafts to enrich his catalog and tourists' experience when coming to Duong Lam Ancient Village. 

Artisan Nguyen Tan Phat and his dragon lacquer artwork for the Year of the Dragon 2023. Photo courtesy of the artist

How did you get into lacquer art and why did you stay with it?

Coming from Son Tay, which is known as the "spiritual land of talented people," I believe I inherited my ancestors' abilities. My father, who was very brilliant, worked in the iron construction industry, and my grandfather often traveled to paint temples and pagodas. Since I was a small child, I accompanied my father and grandfather to many temples and pagodas. 

Over time, I developed a deep affection for sculpture, especially the use of pure Vietnamese motifs. I painted wherever and whenever I could. After high school, I studied at the University of Industrial Fine Arts, where I cultivated an intense passion for traditional lacquer.

Everyone in the craft business often chooses their career path. I decided to stay with traditional crafts from the beginning because each piece has a positive message for the community. Creating unique pieces inspired by the nation's crafts and significant events is not easy, if not challenging, and it does not yield the same high profits as mass production. In return, my works have their unique qualities and have a more sustainable spread to the community.

How do you keep yourself artistically focused as you go through the creative process?

I think handicrafts should be easily available to Vietnamese people in some way. I always focus on the practicality of the work, such as making night lamps, incense burners, fruit bowls, and flower vases.

I often include images of village gates, bell towers, and traditional patterns in my work because I want to tell vivid stories about Vietnamese culture.
I always choose to emphasize the culture of my homeland as a way of expressing gratitude. Maybe that's why many people say my lacquer sculptures have a rustic Vietnamese feel.

The ancient village of Duong Lam is a famous tourist destination, and your lacquer workshop is also a big draw for visitors. How do you manage to create something to see and to experience to attract tourists?

I always open my door for free for everyone to visit and explore, because this is also a way for me to introduce the traditional Vietnamese lacquer craft. I am very happy that my workshop contributes to creating an attractive product for the community.

With more than 20 years of experience, I have opened a free lacquer craft class right in the workshop for many local people. Here, I have a space for tourists to experience lacquer. It amazes me when foreign visitors are interested and excited about Vietnamese lacquer art. They learn about Vietnamese culture and art and take home lacquer souvenirs.

Artisan Nguyen Tan Phat teaches children to make straw buffaloes and horses. Photo: Huy Pham/The Hanoi Times

I know that you make a lot of handicrafts out of straw. Could you have a word about this new project?

The straw from rice harvesting is frequently thrown away or used as cooking fuel. I purchased it, washed it, dried it, and chose the strongest and best straws to create amusing animals.

These goods boost the value of local tourism in addition to making the kids in the village joyful.

I have noticed that when tourist groups come to Duong Lam ancient village, they often like to experience traditional folk products, especially those with novelty. The above reality shows that straw can bring high economic value and efficiency instead of just being a waste product.

In the coming time, I will try to make some new creative products from straw like this to help farmers earn more income from discarded materials and to promote the typical folk values of Vietnamese villages.

Up to this moment, my greatest achievement is not the title, award or number of works, but to have contributed to introducing the quintessence of craftsmanship, cultural values and fine traditions of the Vietnamese people to a large number of domestic and international customers.

Thanks for your time.